Discipline-Based Art Education: a Curriculum Sampler

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AUTHOR Alexander, Kay, Ed.; Day, Michael, Ed. TITLE Discipline-Based Art Education: A Curriculum Sampler. INSTITUTION Getty Center for Education in the Arts, Los Angeles, CA. REPORT NO ISBN-0-89236-171-9 PUB DATE 91 NOTE 327p. AVAILABLE FROMGetty Center for Education in the Arts, 401 Wilshire Blvd., Suite 950, Santa Monica, CA 90401-1455 ($9.95).

PUB TYPE . Guides Classroom Use Teaching Guides (For Teacher) (052)

EDRS PRICE MFO1 /PC14 Plus Postage. DESCRIPTORS Aesthetic Education; Architecture; Art Criticism; *Art Education: Art Expression; Art History; Ceramics; Creative Art; *Curriculum Development; Curriculum Guides; *Discipline Based Art Education; Elementary Secondary Education; Fine Arts; Learning Strategies: Museums; Thematic Approach; Units of Study; Visual Arts

ABSTRACT This sampler was designed for art specialists and art museum educators with a basic understanding of teaching discipline-based art education content. The introduction offers a brief history of the Sampler and explains its intended purpose ?..nd use, Then 8 unit models wit.differing methodologies for relating art objectives to the four disciplines: aesthetics, art criticism, art history, and art production, are presented. The sampler consists of two elementary units, two units for middle school, two units intended for required high school art, one high school studio ceramic unit, and a brief unit for art teachers and art museum educators that focuses on visits to art museums. Learning activities, resource material, and learning strategies are given for the units along with a sequence of lessons organized on a theme. (1) "Art Touches the People in Our Lives" is a unit for primary level students that introduces children to basic concepts, and to selected elements and principles of art. They study ways artists use principles to express mood and meaning, learn about artists who have chosen emotional themes for their work, and express their own thoughts and feelings as they create artworks.(2) "Spaces and Places" is an elementary unit on architecture that shows how a topic might be articulated from one grade level to another.(3) "Many Ways of Seeing" is written for middle school students and investigates the concept of originality, the interpretation of visual language, symbolism, and the categories of fine art and folk art.(4) "Celebration!," also a middle school unit, investigates how cl;":erent cultures use art for common purposes.(5) "The Word as Image: Symbol to Gesture" investigates relationships between words and visual images in paintings and graphic arts, and leads to an understanding of contemporary abstract and non-objective painting. (6) "Art Exploration--A Global Approach" is a general education, high school unit, that gives balanced consideration to content from each of the four art disciplines. The unit presents a study of ceramics, painting, and sculpture, which incorporates art exemplars from many times, places, and cultures. (7) "The Artistic Heritage of Clay: Survival and Revival of Traditions" demonstrates how an elective high school studio course can focus on the art production discipline with enrichment from the other three art disciplines.(8) The final unit, "Experiencing Original Works of Art in a Museum," provides a model for engaging students in response to original works of art. (MM) DISCIPLINE -BASED ART EDUCATION: A CURRICULUM SAMPLER

U.S. DEPARTMENT OF EDUCATION Office of Educational Research a scl Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) tl This document has been reproduced as . ece.ved from the person or organuation ongtnating 0 Mtnor changes have been made to improve reproduction quality

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'PERMISSION TO REPRODUCE THIS *\1MATERIAL HAS BEEN GRANTED BY LeG

TO THE EDUCATIONAL RESOURCES C INFORMATION CENTER (ERIC)."

Edited by Kay Alexander and Michael Day Co-Directors, Curriculum Development Institute The Getty Center for Education in the Arts Santa Monica, California

BEST COPY AVAILABLE 2

tr.+A.3. Xt..Walft 1991 fhe J. I' ;.,etty Trust, Santa Monica. California

Ali rights reserved

Printed in the United States of America

The Getty Center for Education in the Arts, Santa Monica, CA

Library of Congress Cataloging-in-Publication Data

Discipline-based art education : a curriculum sampler / edited by Michael Day, Kay Ale \ ander.

p. cm.

"The Getty Center for Education in the Arts."

includes bibliographical references.

ISBN (1 -84236 -171 -9 : 50.05

1. ArtStudy and teaching (Elementar)United States. 2. ArtStudy and teaching (Secondar)United states. I. Day, Michael, 1938- .I I. Ale \ander, Kay. Ill. Getty Center for Education in the Arts

N362.Ch 199

700dc20 90-2;233 CIP ISBN 0-89231, -171-0

Second printing

In memoriam, Jane Gilbert

3 Table of Contents

Foreword by Phillip Charles Dunn

Introduction by Michael Day and Kay Alexander vii Curriculum Units

I. Art Touches the People in Our Lives A-1

II. Spaces and Places B-1

III. Many Ways of Seeing C-1

IV. Celebration! D-1

V. The Word as Image E-1

VI. Art ExplorationA Global Approach F-1

VII. The Artistic Heritage of Clay: Survival and Revival of TraditionsG-1

VIII. Experiencing Original Works of Art in a Museum H-1

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In December 1987 the Getty Center for Education in the Arts convened an advisory group of nationally recognized art educators and curriculum development experts to discuss the current status of curriculum development in art education. The consensus of the advisors was that a suitable example of a discipline-based curriculum in art was not yet available to the field. Moreover, the group confirmed the Center's long-held assumption that any attempt to create a single curriculum that reflected the discipline-based art education (DBAE) approach was inappropriate because of the increasing cultural diversity in school populations and because of the need for teachers to adapt art content to the needs of their students. The task force recommended that the Center for Education in the Arts concentrate on encouraging the development of multiple prototypes of DBAE curriculum units by encouraging collaborations between art specialists, museum educators, and representatives from the art disciplines and curriculum development field. During the past three-and-one-half years a group of dedicated art and museum educators along with an artist, art critic, art historian, and aesthetician have labored long and hard to create Discipline-Based Art Educa- tion: A Curriculum Sampler. The sampler seeks to be exactly what its name implies. It contains a wide variety of teacher-authored approaches that demonstrate the diversity of how DBAE can be taught to students at all grade levels. It does so by providing examples of teachers writing for teachers, and it contains eight units that illustrate eight different ways in which DBAE can be approached. The units are meant to be perused, examined, dissected, and shared with other teachers. They are meant to be thought-provoking and used as take-off points for art specialists to create curriculum-writing teams to design their own versions of discipline-based art curricula. The Getty Center for Education in the Arts is pleased to present this compilation of teacher-authored units in the sincere hope that it will provide a spark that ignites innovation in the content and structure of art curricula in our nation's schools.

Phillip Charles Dunn Associat: Professor of Art University of South Carolina Program Officer Getty Center for Education in the Arts, September 1988August 1990

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!nr:-"°"61-114r77,17"--47*". Introduction

Discipline-Based Art Education: A Discipline-Based Curriculum Sampler is a collection of eight curriculum units written by Art Curricula teams of art specialists with content The multiplicity of meanings of the derived from four art disciplines: term curriculum is a well-known aesthetics, art criticism, art history, problem in education. Walker (1990, and art production. Each unit featuresp. 5) identified five concepts of cur- a sequence of lessons of ganized on a riculum as 1) subjects offered for theme and includes learning activi- study, 2) educational activities, ties, resource materials, and evalua- 3) intended learning, 4) students' tion strategies. The Sampler demon- experiences, and 5) learning out- strates the capabilities of art special- comes. Each of these conceptions is ists in designing and building their useful in varying contexts. From the rZ own discipline-based art curricula literature on the subject of DBAE, the using their own expertise and avail- designated definition of curriculum able professional resources. It repre- for this project is: sents versions of discipline-based art education (DBAE) similar to what a series of art lessons, actual might be written, given expert sup- written plans with objectives, port, by colleagues of the 18 unit motivation and learning activities, writers, who are elementary, middle, and methods of evaluation. The and high school art teachers; art series of lessons are organized supervisors; and art museum educa- seouentially for cumulative

tors. These units were written for learning....The curriculum also teachers at the elementary, middle, provides resource materials for and high school levels who are teachers, such as suggested familiar with DBAE and who have procedures for conducting les- the background of professional sons, vocabulary terms and expertise and experience associated definitions, reproductions of

with art specialists. artworks, illustrations, diagrams.

..and directions for evaluation (Clark, Day, & Greer, 1987, p. 165).

The series of art lessons contained in this publication represent an attempt

vii 6 ";V':5,ffilre. to create coherent units based on project was to learn how art and theoretical principles of discipline- museum educators might produce based art education. The units in this diverse but sound units of art curricu- Sampler address a number of DBAE lum in response to both the require- issues that have been debated re- ments of DBAE theory and the exi- cently in the professional literature, gencies of life in classrooms. The such as those mentioned beginning following observations will assist the on page xii. And they exemplify the reader to better understand and efforts of art education professionals evaluate the Sampler: and art museum educators to write These sample art units were curriculum units as models for their developed to serve as models for peers and colleagues who are inter- other art specialists wishing to ested in addressing these issues in write their own curriculum materials. their own professional settings. It is our hope, and that of the unit writers, This Institute was an example of that what is presented here will a practitioners' model for curriculum development as distinct stimulate discussion and lead to an from a model that engages increase in the development of imagi- academics or discipline experts r ative and exemplary discipline- to write curriculum units. These based art curriculum units so that the sample art units were written by children in our schools might gain experienced practitioners for art specialist teachers with profes- greater acces,-. to the fascinating, sional expertise and experience. diverse, and important world of the visual arts. We hope that art educa- The Sampler consists of two elementary units, two units for tors in school districts, professors of middle school, two units in- art edur-tion, and commercial art tended for general high school curriculum developers will find these art (i.e., an art course required sample units to be stimulating and for high school graduation), one full of useful ideas. high school studio ceramics unit, and a brief unit for art teachers Discipline-Based Art Education: A and art museum educators that focuses on visits to art museums. Curriculum Sampler was the intended result of the Getty Curriculum Devel- The themes and topics of the units were not assigned, but opment Institute (CDI). The story were selected by the unit writers. about how the CDI was initiated and The charge for the CDI writers conducted is both complex and included the challenge to go interesting. From the inception of this beyond the traditional and often project, some have expressed concern repetitive topics.of the elements that the purpose of the CDI was to and principles of art. Writers were asked to build their units write a Getty art curriculum. On the around universal themes and contrary, great care has been taken to significant ideas. From an avoid doing so. The purpose of this overarching theme they would The unit writers were aware that select a segment for instruction inclusion of extensive materials that would include 1) content might appear too imposing for worth teaching and learning, 2) a use by busy teachers Readers part of a possible sequence of will note in these units that units, 3) instruction and activi- much of the written material is ties that are age/grade appropri- background information that ate, 4) content responsive to the teachers might use selectively. diverse populations in today's These units were developed on schools, and 5) content and the assumption that curricula activities amenable to the use of should serve students and new and emerging technologies. teachers and should be readily Organization of lessons and unit adapted to fit their needs and formats differ according to the interests. Based on this assump- preferences of each writing team. tion, it is understood that teach- The eight units vary in the ways ers might select alternate works objectives are formulated and of art or develop alternate associated with the four art learning activities that serve disciplines, in approaches to stated objectives as they adapt evaluation, and even in nomen- the curriculum to their indi- clature for what is commonly vidual settings. known as a lesson. The time required for each Emphasis of content from the lesson and unit varies according four art disciplines varies from to many factors, including one unit to another. The reader students' interests, teachers' should keep in mind that these preparation, and local school are excerpts from larger courses schedules. that vary in emphasis from unit Black-and-white reproductions to unit, aiming for a balanced are printed in the Sampler to regard for learning derived from indicate the artworks selected by the four art disciplines through- the unit writers. Color slides of out the units. these artworks and others were The amount of background used for classroom implementa- material in written or visual tions of the units. form to be provided in an art curricurn was a factor considered by the writers. The goal wasThis collection of units is 1101 a com- to save the art teacher time and plete art curriculum. Although elemen- effort, increasing the likelihood tary, middle, and high school grades that the lesson will be taught are represented in the Sampler, there with a richness of content. A is no attempt to articulate the various curriculum should make teach- grade levels in a way that is required ing easier rather than more difficult and it should assist to for a DBAE curriculum. In fact, most make the classroom experience of the units are only parts of an art for students more interesting, course. This can be seen graphically exciting, and valuable. on page G-3 of the high school ceram- Overview of Ceramics I Course (One semester - 18 weeks)

Unit One: "Exploring Ceramic Methods and Materials:Defining Purposes" (4 weeks) Students will gain knowledge about the physical propertiesof ceramic materials through observation, experiments, and projects. Theywill increase their understanding of the possibilities and limitationsof forming techniques, such as hand building and wheel throwing.Reasons for creating with clay will be explored as students develop theirconfidence and skills in ceramics production.

Unit Two: "The Artistic Heritage of Clay- Survival and Revivalof Traditions" (4 weeks) This unit includes lessons intended to help students acquireknowledge and increase their understanding and appreciation of ceramic artfrom the viewpoint of history and culture. Students will improve theirskills in making personal expressions with clay. They will also analyze, interpret, and respond to the visual qualities of ceramic objects and discussthe place of ceramics in the world of art.

Unit Three: "Sources of Ceramic Ideas: Influences and Inspirations" (5 weeks) This unit will teach students to develop their own ideas and reasonsfor making ceramic art. Studying how artists gain ideas from sources such as nature, history, cultures, and artistic styles, students willtransform this knowledge into their own work. Unit Four: "Breaking Tradition: Developing New Styles" (5 weeks)

Studi:nts will examine the revolutionary styles of twentieth-century artists such as Voulkos, Soldner, Arneson, and others as they continue todevelop personal aesthetic preferences and individual styles.

cI ics unit entitled, "The Artistic Heri- objectives relate to the four art disci- tage of Clay." That chart, reproduced plines The multiple formats illustrate here, shows the reader that the les- that there is no single DBAE format sons are actually the second unit fromfor curriculum development. So long a four-unit ceramics course. as fundamental principles of DBAE are followed, such as provision of These art curriculum units are pre- objectives, motivation and learning sented as samples that might extend activities, resource materials, arid current conceptions of a discipline- methods of evaluation, curriculum based art curriculum. There are manywriters are encouraged to select interesting art lessons contained in formats that are most useful within the units, but they are presented here their situations. primarily as samples intended to illustrate the process of art curricu- The practitioners' model for curriculum development. As such, these lum development described in this units have much to offer readers whopublication is not presented as the are interested in this process. They only way, or even the best way, to are less useful for classroom instruc- develop discipline-based art curricu- tion because DEAE curriculum lum units. Rather, thisSampleris requires integration and articulation, presented as one way and, in our not merely an unrelated collection of estimation, an interesting and suc- art lessons. In order for any of the cessful way to go about the task of sample units to be of use for class- making worthwhile, substantial, art room instruction, they would need tocurriculum units. We hope that this be related sequentially to the goals, demonstration of one way will lead structure, and format of the disci- art educators to develop and demon- pline-based art curriculum used in strate other ways to develop art the classroom. curriculum units for the numerous different educational settings that Discipline-Based Art Education: A exist around the country. Curriculum Samplerprovides a variety of formats for lessons and units. Each These units are written for art special- unit is developed using slightly ists and art museum educators. The different formats and lesson topics as lessons require considerable partici- preferred by the respective teams of pation and expertise on the part of art authors. The decision to avoid a teachers, and many of them offer standard format was a conscious one considerable flexibility for well- that ultimately challenged the variousprepared teachers. It is assumed that editors and proofreaders of the teachers who might be called upon to Sampler.For example, readers will implement units such as these will notice different ways employed in need a basic understanding of DBAE several units for identifying how and will be familiar with fundamental

xi resources for teaching content de- Issues for rived from the four art disciplines. They will be able, for example, to Discipline-Based select art historical information most Art Curriculum pertinent for their students from the background writings provided in Development some of the units. They will need to In many ways the Getty Curriculum know at least one basic approach to Development Institute was a research art criticism, such as the method and development enterprise. It was demonstrated in the museum unit of focused on a number of theoretical the Sampler. They will be skillful in and practical issues of considerable adapting suggested art production interest to the field of art education, activities for their students and as indicated in the professional indicating production criteria appro- literature. Some of these issues are priate for their experience and ages. related to the following questions: Art teachers who employ this approach will need a basic familiarity 1. How can content for teaching ,e with several aesthetic stances by derived from the four art disci- which artworks can be judged (such plines? How do curriculum writers as formalism, expressionism, and go about "deriving" content from the mimesis), skills of recognizing aes- disciplines of art production, aesthet- thetics questions as they are raised in ics, art criticism, and art history? How class, and leading orderly, logical do they develop learning activities for discussions of art issues. students based on the methods of inquiry from the disciplines? As an exemplification of a practitioners' model for curriculum develop- 2. How can content from the art ment, the Sampler suggests that schooldisciplines be developed into learn- districts with the necessary resources ing units of unified, balanced art might develop their own written art curriculum units? How might cur- curricula. At the same time, the riculum writers avoid making four account of this process informs those separate art curricula based on the same school districts that such a four art disciplines? How can writers project is not to be taken lightly, that deliver the balanced understanding of considerable time and effort are art promised by the discipline-based required, that competent and ener- approach? Will some lessons and getic art educators must be involved, units need to feature one or two of the and that expert support from art and art disciplines more prominently? curriculum professionals is needed. How might writers assess how a unit's content addresses each of the lines? Can the art curriculum devel- four art disciplines? opment process engaged in by art educators from these two states generalize to groups in other states 3. How can art lessons and units with art guidelines compatible with stimulate students' interest in art DBAE? and provide exciting, creative activities? Must the serious study of art 6. How can at specialists identify promised by DBAE result in dry, commercial visual art materials, boring activities, or can this approach including reproductions of artworks, actually stimulate more students in required for this curriculum ap- more ways than a traditional studio- proach? Can art educators and art centered approach? How can learningmuseum educators select and obtain activities based on aesthetics, art use of reproductions of artworks history, and art criticism be made as appropriate for the concepts and intrinsically attractive to students as skills designated in the written cur- art production activities have proven riculum? What are the problems that to be? attend the selection and gathering of visual materials for art instruction? 4. How can art lessons be organized in sequences that will build under- 7. What do art lessons based on art standings about art? How does production, art criticism, art history, sequencing work within a single unit and aesthetics look like at various of a few lessons? Can writers developgrade levels? How do third graders, progressions of ideas that help stu- for example, deal with fundamental dents build one understanding upon questions about art associated with another and one skill upon another? the study of aesthetics? How do What impact will regular DBAE students progress in their under- instruction in elementary grades havestandings and skills derived from art upon the art curriculum at the middlecriticism and art history? How is and high school levels? discipline-based instruction in art production different from studio 5. How can state art guides or frame- activities common in the traditional works be used as foundation docu- approach to art curriculum? Will art ments for the development of DBAE production activities take on a differ- curricula? The Curriculum Develop- ent flavor within a DBAE curriculum? ment Institute invited art educators 8. How can art specialists enhance from Michigan and Connecticut, two and enrich high school advanced states with guidelines supportive of studio courses, such as ceramics, by the discipline-based approach, as a means to address this question. How integrating content from aesthetics, are the writers from these two states art criticism, and art history? Must able to connect with the state guide- the art production component be diminished within a DBAE program? 11. How can a DBAE curriculum Is it necessary that advanced art address the age and developmental courses (electives) at the high school levels of children in the various level maintain the same balance grades of school from kindergarten among the four art disciplines as is through high school? How can expected within general (required) curriculum writers assist students to education? Can the enrichment by thedevelop higher levels of skills and other three art disciplines enhance theunderstandings at each grade level? quality of artwork produced by high What are the problems associated school students in studio courses suchwith determining appropriate levels as ceramics? of difficulty for art learning activities at each grade level? How can art 9. In what ways can evaluation of curricula be planned to accommodate student progress become integral to ranges in learning abilities and styles? sound art curricula? How can learn- The practitioners' model for curricu- ing in the four disciplines be el alu- lum development formulated for this ated? What range of assessment project utilized teachers' expertise procedures and devices might be and experience in response to devel- appropriately employed within a opmental issues. discipline-based art curriculum? How can the evaluation component assist 12. In what ways can museums, writers to clarify objectives and focus galleries, and other community art learning activities? How can evalua- resources be util:zed within a DBAE tion of student progress assist teach- curriculum? What is the role of actual ers to improve art programs? works of art within a discipline-based art curriculum? What strategies are 10. How can a DBAE curriculum useful for preparing students to accommodate multicultural concernsrespond more fully to original art- and social issues? How can school- works? How can schools and muse- based art curriculum developers ums work together on behalf of focus learning activities in ways that students? are more appropriate for specific student populations and local situa- Obviously, all of these questions tions than the necessarily general cannot be fully addressed within this commercial curricula? How can the document. Many of them will require selection of artworks and art activitiescareful research and years of develop- enhance multicultural concerns? Howment by the best minds within the can selection of artworks and class- field of art education and related room learning activities be related to academic areas. Nevertheless, all of social/cultural issues? these questions were brought to the attention of the CDI curriculum writers. 1,1 many ways the lessons xiv l3 that they wrote indicate their awareness to purchase con nercial art ness of these questions and issues. curricula. The field now has a choice of several commercially produced The Getty CDI elementary art curricula and an increased range of art instructional and the DBAE materials at the middle and high Curriculum Sampler school levels. The field of art education has a The Getty CDI was initiated in light relatively brief but significant and of this context with he intention of rich history of curriculum develop- learning more about the art curricu- ment. In years past art specialists lum development process when art have been required to develop their educators and art museum educators own curricula as well as to serve as are asked to write discipline-based art teachers. The co-editors of this Sam- curricula. A plan was developed as a pler each spent many years as art means to accomplish this goal over a teachers and learned in the process two-year period and to produce some of the difficulties that attend sample art curriculum materials that, this dual assignment. As the field of r. it was hoped, might stimulate profes- art education moved toward the sional discussion and art curriculum discipline-based approach during the innovation. This plan included: 1960s, more attention was paid to curriculum planning and the content 1) selection of art educators and of art curricula. Art curriculum museum educators as participants projects emerged from the university and curriculum writers; setting (Stanford's Kettering art curriculum), federally funded educa- 2) selection of a site for the curricu- tional laboratories (the CEMREL arts lum development activities;

materials and the SWRL art program), 3) an orientation week with partici- and commercial publishers (begin- pants and art discipline consultants; ning with Meaning, Method, and Media elementary art textbooks). Art educa- 4) a two-day curriculum workshop; tors in the public schools have long 5) a three-week curriculum writing been active in writing curricula in the session; form of state art frameworks, district 6) field testing of the curriculum art curriculum guides, and sometimes units; art course outlines. In recent years commercial publishers have re- 7) a comprehensive review, editing, sponded to an apparent increased and production process; and interest in art curricula among school 8) the publication of Discipline-Based districts, evidenced by their willing- Art Education: A Curriculum Sanipler.

xv 14

. . ' . . . . r CDI Participants Mg working with each writing group on the second and subsequent drafts, Many persons were involved in this responding to and incorporating curriculum development plan in a suggestions and corrections from the variety of roles and functions. four art discipline consultants, the field testers, the readers, and the copy Getty Center staff editors, and coordinating with the The CD1 was initiated, funded, and designer all aspects of the final publi- supported by The Getty Center for cation. Education in the Arts. A Center staff member was on-site during all of the Participants (unit writers) meetings and sessions, providing The participants were a highly moti- support and consultation. Decisions vated group of professional art and regarding publication of the Sampler art museum educators with an aver- and all other significant aspects of theage of nearly 20 years of experience Institute were made by the Getty per individual. They participated in Center staff. the preparation and orientation activities, which involved reading CDI co-directors DBAE materials supplied by the co- The co-directors had multiple respon-directors and on their own initiative, sibilities, including planning and attending the various meetings of the logistics, leadership in DBAE curricu- CDI group, and selecting the topics lum theory, and editing the final that they wished to work into curricu- Sampler. As planners, the two co- lum units. directors organized the Institute, developed the budget proposal, The 18 participants had the daunting task planned the meetings, identified and of writing curriculum units that they engaged four art discipline experts knew would be held up to the scrutiny of and a curriculum consultant, and their colleagues around the country. They selected the CDI participants. The co- had to form writing teams with fellow directors selected the sites and accom-participants whom they had not met modations, provided writing re- before and who lived and worked in sources, and arranged for transporta- different cities and school districts or tion. museums. They had to work on a set time schedule with a definite deadline. The The co-directors presented DBAE writers put in many hours after the initial theory to the participants, led discus- writing session, working on subsequent sions of issues and problems, and revisions of the written material and the consulted closely with participants selection of artworks. during the writing process. They had major editing responsibilities, includ-

xvi Art discipline experts followed the state guidelines for art Four prominent art professionals education. were engaged to represent the disciplines of art history, aesthetics, art Selection of CDI participants production, and art criticism. Each The Getty staff and the CDI co- spent a day with the CDI group at thedirectors decided that, in order for the orientation meeting and two days units to follow an extant curriculum during the writing session. The art structure, participants should be discipline experts had the responsibil-selected from states with art guide- ity to exemplify their respective lines compatible with the discipline- disciplines for the participants duringbased approach. The states of Con- the orientation session. They offered necticut and Michigan were selected. helpful suggestions during their time In the following months the state art at the writing session, and they read consultants of Michigan and Con- the second drafts for accuracy of necticut were asked to nominate a content in their respective fields. number of elementary, middle, and high school art teachers and district Curriculum consultant art supervisors as well as museum art The curriculum specialist met with educators that might be invited to the CDI participants fc r two days apply to participate in the CDI. From during which time he discussed the the larger number of applicants, eight process of curriculum development carefully chosen persons from Michi- and was very helpful in clarifying gan and eight from Connecticut were their roles and allaying their con- invited to join the Institute. Also, two cerns. He attended the writing sessionhigh school ceramics teachers from for two days and offered sliggestions Nebraska and Ohio, states involved regarding organization, format, and in Getty regional institutes, were writing approaches. invited to work on a high school ceramics unit. State art consultants The state art consultants from Con- Selection of the CDI Site necticut and Michigan assisted with The city of Boston, with its array of the selection process by nominating cultural resources, was chosen as the outstanding individuals from their site for a week-long series of orienta- respective states who were invited to tion and preparation meetings. The apply as participants in the Institute. Museum of Fine Arts, Boston, yvas the They attended the orientation session location for most of the week-long and the final two days of the writing orientation sessions. Within the session. It was their responsibility to Boston area were located many verify that the curriculum units resources that the writers might need, written by the teams from their states including the art museum, libraries,

xvii 1 ' colleges and unii!ersities, convenient and to raise many of the curriculum public transportation, and other issues mentioned above. Mornings resources such as the designstudio and afternoons were spent in lecture/ discussion sessions with the disci- and museum of contemporary Afri- pline consultants. Ample time was can-American art that were subse- available for participants to enjoy the quently visited by the CDI group. A collections on display in the museum convenient and comfortable site for and in the nearby Isabella Stewart the writing session, Endicott College, Gardner Museum. Evenings focused was also located in theBoston area. on visits to the Museumof the Na- tional Center for Afro-American The Orientation Week Artists, the Michael Weymouth Design Studio, optional attendance at After the selection process, which was museum lectures or concerts,and conducted by mail and telephone, the becoming familiar with other partici- participants were invited to spend a week pants. It was an intense experience, of orientation in the city of Boston during all agreed, made even more so by an the summer of 1988. Four of the days unanticipated Boston heat wave. were spent at the Museum of FineArts. One day was spent with each of four art Participants left the orientation week discipline consultants: an internationally assigned to teams with the charge of recognized artist, an outstanding New selecting themes or topics and gather- York City art critic, a recognized art ing resources for units of five to ten historian from the Museum of Fine Arts, lessons that would serve as models Boston, and an accomplished aesthetician. for curriculum developers in districts A documenter/evaluator experienced :in anywhere in the country. The topics art education curriculum and representa- were to be intrinsicallyappealing to tives from the Getty Center, along with teachers and students and intellectu- the co-directors, completed the roster. Oneally and artistically challenging. Also, of the highlights of these sessions, which they were to be of a sort that allowed included analysis of the concepts and for an integrated mar -ler of building methods of inquiry exemplified by each oflessons, with content drawn in a balanced fashion from all four disci- the art professionals, was standing with plines. In addition they were to each consultant in turn before the same incorporate awareness of the diverse work of art. As eaLh discussed the work heritage of American students and from their particular professional perspec- allow for modification to fit different tive, it became clearer to the participants teaching and learning styles. The how each of the art disciplines contributes accompanying visual images would unique insights for a broad understanding have to be easily accessible at reason- of the visual arts. able cost to future users.

Another purpose for the orientation was to establish commonunderstand- ings of the discipline-based approach

xviii The Curriculum and a selection of slides, catalogs, Workshop journals, magazines, and books that had been brought to Endicott. Brief Six months later, early in 1989, par- morning meetings served for an- ticipants met for two days with the nouncements, sharing, and clarifica- invited curriculum consultant and tion of purposes and procedures. The rest of each day was spent in writing, spent time critiquing sample lessons in teams or individually, conferring that they had written for the work- with the museum educators or the shop. During this time cuniculum Institute co-directors, or with the issues emerged and were discussed curriculum and discipline consultants with the curriculum consultant, who who were scheduled for two-day pointed out and analyzed potential visits to Endicott. The Connecticut problems and possibilities associated and Michigan state art consultants with this type of curriculum develop-also visited to validate the essential ment undertaking. reiationships between the curriculum units and the respective state art Following the workshop, participants frameworks. returned to their respective homes Most of the 18 wi iters found it useful and professional positions for anotherto begin with an outline to help six months prior to the writing ses- assure that balanced attention would sion. Although the fact that they livedbe given, over the course of the unit, and worked in separate cities and to all of the art disciplines and to an states presented some hurdles, par- adequate description of the purposes, ticipants corresponded during the teaching procedures, learning activi- ensuing months, agreeing on specific ties, and evaluation strategies. An curriculum themes and gathering example of such a grid, developed by resource materials for the writing the high school ceramics team for their unit entitled "The Artistic assignment ahead. Heritage of Clay," is reproduced on the next page. The Writing Sess;on By filling a series of such grids with In July 1989, the Institute reassembled briefly stated intentions, writers could at Endicott College, 30 miles north of easily ascertain which areas needed Boston, for the actual three-week greater or lesser emphasis. The aim writing session. Participants and support persons were housed accord-was not an exact quarterly apportion- ing to writing teams in comfortable ment of instructional time among the quarters that included a convenient four disciplines, but rathe: a respect- resource center. Computers were ful attention to all of the disciplines as available for word processing and sources for integrated learning ovet graphic design, as well as a photo- the course of the unit. For example, copy machine, samples of posters, one lesson might deal primarily with

xix Ceramics Unit 2: The Artistic Heritage of Clay

LESSON OUTLINE

CONCEPT (OBJECTIVE) TEACHER WILL STUDENTS WILL EVALUATION

Criticism To learn characteristics of Lead class discussion to Think about the differences The worksheet questions artifacts. To understand theclarify definitions of culturebetween artifacts and art. ?ray be used to measure the importance of ceramics in and artifacts. Ask studentsSpeculate as to the qualities students' comprehension of the study of historical and to identify qualities of a ceramic object from their "art," "artifact," and cultural development. To artifacts inherent in home might have as an "culture." Check students' appraise the information everyday ceramic objects. artifact by completing the participation in class inherent in an artifact. Assign homework to makeassigned worksheet. discussions. Quiz at end of students aware of ceramics lesson is an option. in their personal environment. Aesthetics To develop an understand-Help students define their Participate in class or groupAssess students' answers ing of the relationship personal concepts of beautydiscourse to formulate a on the worksheet. Check between beauty and as it applies to ceramics consensus concerning the their ability to state their function and the artifacts ofand other objects from theirterm "beauty" as it applies personal definitions of a culture. To recognize thateveryday lives. Explain theto ceramic artifacts. When concepts. Ask students to artifacts reflect the beliefs various uses of the are artifacts also considered write a paragraph defend- and values of a culture. To principles and elements of as art? ing their categorization of investigate the concepts design as they apply to ceramic objects as art or "art" and "artifact." different cultures' concepts artifact. of beauty. History To learn the important wayGuide discussion about Answer questions on the Worksheet and homework ceramics help historians to worksheet items. Reinforceworksheet from class answers will identify understand cultural knowledge of useful discussion. Apply students' levels of under- development. To learn qualities of ceramic artifactsinformation while standing. Class discussion about methods of dating and kinds of information examining a personal will demonstrate students' archaeological sites, and provided by artifacts. Helpartifact during homework. abilities to translate other information that can students gain insights into knowledge into personal he gleaned from ceramic the personal aspects of a life. artifacts. culture through ceramic artifacts. Production To draw examples of Assign homework. Show Draw examples of ceramics Student drawings and class ceramic objects from their sketches made by archae- from their daily lives. participation will demon- surroundings and view ologists as they study Determine construction strate levels of comprehen- them as artifacts of ceramic artifacts. Review techniques possibly used tosion. contemporary culture. To construction techniques create selected ceramic identify possible productionused to create ceramics. objects. techniques used to create examples for discussion.

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xx art historical background essential forTechnical assistance with the use of understanding a concept or develop- computers was available as needed, ing a skill; another lesson might peer-reviews were scheduled and introduce some of the aesthetics attended, and the co-directors were considerations associated with the on call to assist at any time. The historical context; and subsequent museum art educators, in addition to lessons might build upon these contributing to each of the school learnings with activities involving art teams' units, also developed a special criticism and individual art produc- curriculum package for museum use. tion. Concepts and activities derived The CDI documenter, who was also a from several of the art disciplines museum educator with considerable might be integrated in a single lesson curriculum expertise, assisted the and presented at levels appropriate writing teams as did the Getty staff for the abilities of the students. The member in attendance. The intense goal was to write lessons and units efforts over long hours were punctu- that would reflect the broad, balancedated with informal activities, planned view of art associated with DBAE. social events, and weekend breaks. Also, immediately apparent in the grid was the purpose or goal of each lesson, what teachers and students Editing and would do in the classroom, and how Producing the Sampler student progress would be evaluated. All of the eight teams, including the The participants quickly settled into museum education group, presented self-directed routines: outlining, confer-creditable first drafts of their units at ring, reading, researching, pondering, the conclusion of the three-week questioning, debating, and eventually writing session at Endicott College. During the fall of 1989 the drafts were writing, revising, and rewriting. This read and edited by the co-directors. collegial, intellectually demanding Several were found to be overly process was later recognized by many ambitious in scale, others needed of the CDI participants as one of the some reorganization or refinement to highlights of their professional careers. make them more generally useful as For most art teachers, the opportunity examples, and still others required to create with ideas in this way, with more or different visual images or ample time for intense intellectual other references for use during the interaction with respected colleagues, isfield tests. Considerable time over the an opportunity that is, unfortunately, autumn months was devoted to very rare. Even when there were addressing these problems, including differences of opinion, passionately conference calls with each writing debated, the stimulating nature of the team and the co-directors. activity was recognized and valued by the writers.

,r4 8'17% 4.-1ft. brae err. '777;-47-7-- The work of acquiring permissions to Field Tests and Reviews publish photographs of the more than 100 artworks designated by the of the Art Units writers was a monumental task As part of the curriculum develop- involving detailed telephone and ment plan, art teachers at the appro- written correspondence with 33 art priate grade levels were selected and museums, publishers, private collec- invited to teach the respective units in tors, and other agencies. In addition their classrooms. They were asked to to the black-and-white glossy repro- provide practical critiques of the ductions used for this publication, it content, organization, and was necessary to acquire, if possible, teachability of the units based on color reproductions in slide or print results of the pilot teaching. They form of the artworks designated for were asked to report how children each unit so that the field test teachersresponded to the lessons and activi- could use them in their classrooms. ties and to what extent the children Of course, there were instances whereenjoyed the experience and learned reproductions of designated artworksfrom it. Each unit was taught to could not be obtained and substitu- students by at least two teachers who tions had to be made, sometimes were not members of the writing requiring rewriting of the lessons. teams. The unit writers who had classroom teaching assignments also The original plan for the writers to taught their own units to gain infor- design their own units proved to be mation that they might use to revise unworkable. The writers had their and improve the lessons. hands full with curriculum development and had little time to acquire Field-test teachers, as well as the CDI the necessary computer expertise for participants who test-taught the units, designing. Each team did, however, made numerous notes and sugges- work with the computer consultant attions for revisions and sent this Endicott on the tentative designs of material to the co-directors. The field- their units with the expectation that, testing process provided a great deal to the extent feasible, the designs of interesting and useful information would be carried out. When the for the improvement of the units. permissions and reproductions had Teachers who tested the units in their been acquired and the second draft ofclassrooms made suggestions based the lessons completed, the initial on students' responses, time restric- lesson of each unit was designed by tions, school schedules, and their own the computer consultant who had personal points of view and practices worked with the writers at Endicott as experienced art teachers. One College. generalization became apparent to the editors as a result of field testing: 21 teachers will alter and adapt written Desktop Publishing of curriculum materials to suit their particular situations. Even though Art Curricula field-test teachers were asked to try The Sampler was produced as a the lessons as they were written, and desktop publication so as to be within then to suggest improvements, they the technological and financial means often went ahead and made intelli- of school districts. The Getty staff and gent changes appropriate for their CDI co-directors decided early in the classes. It appears that experienced project that the results of the Institute teachers such as these are not likely toshould be produced using a desktop- be intimidated or stifled by written publishing format that would be curriculum materials. within the capability of most schoD1 districts. Thus, the results of the work It was the responsibility of the co- of art teachers would be produced in directors to incorporate useful sug- a form that could be achieved at the gestions through revisions of the local school district level, enhancing units. In May 1990, the writers were the generalizability of this curriculum convened for two days in Saugatuk, development process. To this end, Michigan, to approve revisions and Discipline-Based Art Education: A make final changes in their units. The Curriculum Sampler was produced conclusion of this phase resulted in using Microsoft Word 4.0 and Aldus the third major draft of the units, Pagemaker 3.01 on a Macintosh IIcx computer. Several Macintosh comput- which then were sent to several ers with this software and a laser readers selected by the Getty Center printer were available to the writers and to the four art discipline experts during the Endicott College writing who worked with the writers at session. Boston and Endicott College. Their suggestions were incorporated for the Finally, we wish to share an observa- final draft, which was then edited and tion from our own longtime experi- designed for publication. ences with art education and the uses of written art curricula. It is our view that well-planned written art curricula tend to free teachers and students rather than stifle them, as some suppose. This view was strongly supported during the field testing when we discovered that most of the pilot teachers made changes in the lessons to fit the requirements of their classroom situations as they went along. We believe that this is

nIET 'I"' what good teachers always do. We Acknowledgments also observed first-hand the commit- The Curriculum Development Institute co- ment that teachers can make to directors want to recognize the many indi- curriculum units that they have had a viduals who generously gave their time, energy, and expertise to the creation and hand in developing, that reflect their publication of Discipline-Based Art Education: experience, thinking, and values. This A Curriculum Sampler. We gratefully acknowl- edge their valuable contributions. commitment, which often results in improved implementation, is one of Contributors to the Getty Curriculum the strongest reasons for engaging Getty Center for Education teachers in making art curricula at the in the Arts Staff Leilani Lattin Duke, Director, The Getty district level. Center for Education in the Arts Stephen Mark Dobbs, Senior Program Officer, The Getty Center for We are pleased to present the Disci- Education in the Arts (September 1987 pline-Based Art Education: A Curricu- August 1989) Phillip Charles Dunn, Program Officer, The lum Sampler to the field of art educa- Getty Center for Education in the Arts tion. We do so in behalf of the 18 (September 1988-August 1990)

authors of the sample units and the CDI Co-Directors many others who have contributed to Kav Alexander, author and art education consultant, Los Altos, CA the writing, editing, and production Michael Day, Professor of Art, Brigham Young of the Sampler. University Discipline Consultants Michael Day Lillian Elliott, Fiber Artist and Sculptor, Co-Director Berkeley, CA Jonathan Fairbanks, Curator of American Getty Curriculum Decorative Arts and Sculpture, Development Institute Museum of Fine Arts, Boston, MA Ronald Moore, Professor of Philosophy and Kay Alexander Director, Center for the Humanities, University of Washington, Co-Director Seattle, WA Getty Curriculum Raymond Silverman, (special consultant on Development Institute African art) Professor of Art History, Michigan State University, East Lansing, MI Decker Walker, Professor of Education, School of Education, Stanford University, References Stanford, CA Clark, Gilbert, Michael Day, & Dwaine Greer, Theodore Wolff, Art Critic, The Christian "Discipline-Based Art Education: Becoming Science Monitor, New York, NY Students of Art," in Ralph Smith, ed., Tin' Documentor lourrial of Aesthetic- Education, vol. 21, no. 2, Elizabeth Valiance, Director of Education, The Summer 1987, pp. 129 -193. Saint Louis Art Museum, Saint Louis, MO Walker, Decker, Fundamentals of Curriculum (New York: I larcourt) State Art Consultants Frank Philip, Fine Arts Specialist, Michigan Department of Education, Lansing, Ml Robert Saunders, Art Consultant, Connecticut Department of Education, I lartford, CT

2 3 xxiv

1.1Z1711-. Curriculum Writers Reviewers Carol Alexander, District Art Supervisor, Jim Cromer, Chair, Department of Education, Detroit, MI University of South Carolina Donna Bongiorni, Art Teacher, Middle School,Jack Davis, Vice President for Academic Guilford, CT Affairs, Professor of Art, North Texas State Hildegard Cummings, Education Curator, University William Benton Museum of Art, Storrs, CT Nancy MacGregor, Professor, Department of Janet Saleh Dickson, Education Curator,Yale Art Education, Ohio State University University Art Gallery Bonnie Pittman, Deputy Director, University Linda Downs, Director of Education, National Art Museum, University of California, Gallery of Art, Washington, DC Berkeley Joyce Fent, Art Teacher, Elementary, Glenside, Decker Walker, Professor of Education, MI Stanford University Donna Fitzgerald, Art Teacher, Junior High School, Manchester, CT Desktop Consultant Jane Gilbert, Art Teacher, Elementary, Flint, Brant Day, Designer, American Fork, UT MI Mary Lou Hoffman-Solomon, Art Coordina- Graduate Assistant tor, Simsbury CT Sharon Gray, Provo, UT Patricia Johnson, Art Teacher, Elementary, Menominee, MI Photographer Barbara Lindquist, Art Supervisor, Grand Mark Philbrick, Public Communications, Rapids, MI Brigham Young University, Provo, UT lonis Martin, Art Teacher, High School, Bloomfield, CT Photographic Rights and Reproductions Paula Miriani, Art Teacher and Coordinator, Julie Causey, Amon Carter Museum, Fort Elementary, Grosse Pointe, MI Worth, TX Virginia Pappalardo, Art Coordinator, Westport, CT Secretarial and Editorial Assistance Cynthia Rehm, Art Teacher, Consultant, Michele Car li, Provo, UT Elementary, Simsbury, CT Sharon Heelis, Department of Art, Brigham George Sedlacek, Art Teacher, High School, Young University Lincoln, NE Heather Mc Kell, Provo, UT Jeffrey Shaw, Art Teacher, High School, Natalie Miles, University Publications, Columbus, OH Brigham Young University Linda Whitetree Warrington, Art Teacher, Coordinator, High School, Ann Arbor, MI The J. Paul Getty Trust Design and Production Field Testers Kathy Talley-Jones, Managing Editor, Getty ra Marcie Baker, Livonia, Ml Center for Education in the Arts Neil Bittner, Westport, CT Nina Stettner, Copy Editor Diane Boylan, Terryville, CT Amy Armstrong, Lark Zonko. Production Peggy di Persia, Grand Rapids, MI Coordinators Gail Edmonds, Middletown, CT Orlando Villagran, Design Coordinator Barbara Edwards, Ann Arbor, MI Brenda Johnson-Grau, Desktop Publishing Harvey Goldstein, Farmington, MI Consultant Joyce Hannah, Newtown, CT Richard Ikkanda, Binder Design Carolyn Jensen, Hanover, NH Allison Kluth, Guilford, CT Judy McEnaney, St. John's, MI Philip Niederhoff, San Jose, CA Lei li Ora, West Simsbury, CT Michael Phillips, Detroit, MI Cathy Ronis, Grand Rapids, MI Pat Sachen, Grand Rapids, Ml Brenda Striler, Marquette, MI Jerry Thompson, Lansing, MI William Wright, Farmington, CT

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.."7"zaIrrA,'m ,.v kliFIcNOZT.C1 :417g. Art Touches the People in Our Lives is a unit for primary level children that focuses on themes of human feelings depicted or expressed in works of art. In this unit children make personal connections with works of art that express themes of caring. The children are introduced to basic art concepts, such as foreground, middle ground, background, abstract, and representational, and to selected elements and principles of art, such as line, shape, color, space, and rhythm. They study ways that artists use principles to express mood and meaning in works of art, and they learn about artists who have chosen emotional themes for their work. Very young children express their own thoughts and feelings with art materials as they engage in drawing, painting, and three-dimensionalconstruction.

BEST COPY AVAILABLE

AT THE PRIMARY LEVEL, frames of reference. They will begin CHILDREN ARE SENSITIVE TO to understand that their own art can INTERPERSONAL RELATIONSHIPS reflect understanding they have WITHIN THEIR FAMILY AND PEERgained through observing and GROUP. Today, family life sometimesexperiencing art. encompasses fragmented, extended, Designed for primary grades and blended family units, and Focused for Grade 2 children often must become more (Can be adapted for Grades 1-3) self-sufficient to deal with their Time - Approximately 45 minutes per feelings in terms of these -..hanges. week (one class period) The content of this unit, derived from art history, art production, art Lesson One Everyone Needs to We chose to use this criticism, and aesthetics, will help Care theme because of the Lesson TwoEverybody Needs social and psychological children to address these universal Somebody needs we have seen in relationships and concerns of society. Lesson ThreeSharing our student population Lesson FourFeelings in recent years. Children will extend their abilities to Lesson Five Everybody's Birthday relate to the emotional aspects of their lives as they relate to themes of human feeling in works of art. Their own art products will provide tangible, visible extensions of themselves to share with others. As children make personal connections with works of art, they will discover that many important issues have been addressed in the arts of other cultures. Because they are more aware of this, they will become more open to new ideas and more receptive to learning about art and artists. They will become better able to interpret meaning and feeling when viewing works of art, and they Mary Cassatt, Child in a Straw Hat, The will extend their visual and creative National Gallery of Art, Washington, D.C.

A-3 27 ART LESSON TOUCHES The people in Everyone our lives needs

tocare 0 N E 77"3 Time 1 or 2 class periods

Materials Pencils, crayons, drawing paper Art Resources Kokoschka, Oskar (Austrian, 4r, 1886-1980), Girl with Doll, The Detroit Institute of Arts. Renoir, Pierre Auguste (French, 1841-1919), Woman with a Cat, The National Gallery of Art, Washington, D.C. Vasilieff, Nicholas (Russian, 1877 Pierre Auguste Renoir, Womanwith a Cat, The National Gallery of Art, Washington, D.C. 1956), Woman with White Dog, The William Benton Museum of Art, Objectives Storrs, Connecticut. The students will: 1. Make connections between their feelings about caring and those feel- If these prints are not available, select ings expressed by artists in works of your own examples. It is important art. (Art History [AHD that you choose artworks that show a 2. Explain the theme of caring for person with an ohject of their caring something as expressed in works of (i.e., not another person). You might art. (Art Criticism [AC]) wish to select works from various cultures and times. 3. Create drawings of themselves with something that they care for. Vocabulary (Art Production [AP]) Center of interest: Area of a work of art that attracts a viewer's attention first. 4. Make aesthetic responses to works of art and their own art. (Aesthetics Portrait: A likeness of a person, [AE]) generally including the face.

A-4 28 LESSON ONE Planning and Preparation discussion balanced between how ART To emphasize the theme of caring for they feel about their own things and T.OUCHE something, as expressed in works of what is depicted in the artworks. art, your students will be discussing The people in Don't spend too long on one thing. our lives their feelings about something specialYour goal is to have their personal to them. experiences relate to an aesthetic 1. Arrange for the students to bring a response. The drawing activity at the picture of their pet, special toy, doll, end of the lesson may not necessarily We are hoping that an or a small cherished possession to be a finished piece of artwork, but aesthetics discussion their next art class. If that is not will reinforce what they have will take place here. possible, you might want to set expressed about caring feelings and guidelines about bringing items in. their observations of the artworks. But at least prepare children to Instruction discuss one belonging that they care 1. If students have brought in their about. photos and items, ask them to keep 2. Decide how you will display your them and be ready to share. art resources. 2. You should initiate discussion by 3. Read biographical information. sharing your cherished item first. You can ask your students the following: 4. Gather art supplies and have them Whatis your special something?(Show ready. your picture or object.) 5. As a teacher, you could consider Howlong have you had it? Why is it bringing in something of your own to special to you?(Choose a few students share, such as an heirloom, etc. to respond to the same questions.) Instructional Strategies (nice people make a Depending on the time allotment and personal connection to and Motivation class size, you may want to change a work of art, they are This art lesson focuses on providing a inure open to new ideas your questions to allow many about art. connection for the students between students to respond together. For their own feelings for something and example:How many of you are sharing similar feelings that can be found a toy with us today? How many of you expressed in works of art. You will be are sharing a picture with us today? asking questions to help students articulate those connections. These Find common threads of feelings in questions might result in discussion the children's responses. All feelings of basic art issues, such as how a are valid for the discussion. Ask: How painting can express an emotion. would you show in a picture that you cared for something? Because your students may have their cherished possessions or photographs3. Introduce the works of art. Tell the with them, they will be stimulated students the title of the artwork and and will respond enthusiastically! give biographical information, such Take advantage of this and keep the as the artist's name, where the artist

A-5 23

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lived, and when the artwork was of interest) Why does it stand out? (larger, created. Tell the students that the art- brighter, mere colorful) works are portraits and define that 5. Ask your students to respond to the term. expressive content of the artworks and 4. Ask students to describe what they see compare that expression with their own in the artworks: experience. For example: Which artwork looks most like how you feel about your Who do you see? What else is in the art-work? special something? Now does the artwork Teachers will integrate What stands out most in the picture? (centers art history content make you feel that way? with discussion of artworks.

It is possible to reverse the sequence: Begin with the drawing activity, and then look at the reproductions to see how others have shown people with beloved objects.

Nicholas Vasilieff, Woman with White Dog, The William Benton Museum of Art, Storrs, Connecticut.

A-6 JO BEST COPYAVAILABLE LESSON ONE

Production Activity exemplified in works of art? (Possible (about 20 minutes) assessment methods: class discussion, To give students an opportunity to small-group discussion, interviews visualize what they have learned, have with individual students, observation students create a drawing of themselvesof each student's drawing.) caring about their special something. 2. Were the students able to verbalize They may color their drawings. connections with their feelings and Note: Refresh your memory with the outlines those expressed in works of art? at the end of the lesson and tell students abolit (Possible methods: see #1.) the artists in your own words. V4 3. Were students able to visualize the Evaluation theme of caring as they saw artists 1. Were the students able to recognizedo? (Observe students' drawings.) ens the theme of caring for something as

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Oskar Kokoschka,Girl with Doll, TheDetroit Institute of Arts.

A-7 31 BEST COPYAVAILABLE ;74w7,43---7.17w. ,'"47777777.771 , LESSON ONE

4. Were students able to recognize Biographical Information ART Kokoschka, Oskar (Austrian, 1886-1980). and identify particular works of art? Born in Bohemia. (Possible methods: see #1, and simple Expelled from art school in Vienna for The people in checksheet response from each child. doing things his own way. He expressed our lives Show prints or slides and have ideas with great passion and emotion. students check correct responses.) Worked as designer and illustrator. Painted a series of portraits of actors, 5. Were the students able to writers, and animals. understand and correctly use the Renoir, Pie- re Auguste (French, 1841- vocabulary words? (Possible 1919). methods: see #1. Ask classroom 'Central figure of the impressionist movement in France. teachers to place words in spelling Began his career by painting porcelain lists, and ask students to write or plates, fans, and window blinds. speak a sentence using the words.) Influenced by Claude Monet, Alfred Sisley, and Paul Cezanne. 6. Did each student create a drawing Painted with characteristic touches of of themselves with something they broken color. care for? (Possible methods: Examine Preferred figure painting to landscapes each student's drawing and discuss it (created portraits and scenes of social with the students.) life). His paintings depict women as gentle, Related Activities caring, and tender. 1. Students could write a few Vasilieff, Nicholas (Russian, 1877-1956). sentences about their own drawings Studied and taught at the best art school to reinforce objectives further. in Moscow. Influenced by Russian folk art and 2. Students could draw a picture of futurism. their special something, cut it out, 'Came to the United States when he was We expect that art and pin it to their clothing to express 36 years old. teachers will have Painted the Woman with White Dog, from access to more detailedtheir feelings and make the memory (he saw the dog on the porch art historical content connections between themselves and and nicknamed her the "Holy Terror"). and will integrate if as the object. they see fit. Additional Resource Prints for Lesson One 3. Teachers might select one of many Cassatt, Mary (American, 1845-1926), excellent filmstrips or videos to Woman with Dog, Corcoran Gallery, provide students with a more Washington, D.C. personal and engaging experience Chagall, Marc (Russian, 1887-1985), I and the Village, The Museum of Modern Art, with an artist whose works are used New York. in this lesson. Goya, Francisco (Spanish, 1746-1828), Don Manuel Osorio, Metropolitan Museum, New York. Vigee-Lebrun, Elisabeth (French, 1755- 1842), Portrait of Mmc. National Museum of Women in the Arts, Washington, D.C.

A-8 1. L E S 0 N ART TOL.1.6HES. Everybody The people in needs our lives

somebody T W 0

Objectives The students will: 1. Explore the theme of two people in a caring relationship as visualized in works of art. (AE, AH) 2. Observe the effects of line, shape, color, and space in works of art. (AC, AH) 3. Use line, shape, color, and space to depict two people for whom they care. (AP) 4. Use visual art elements to create mood and express emotion in a pastel drawing. (AP) 5. Recall historical content mentioned in the lesson. (AH) Time Pablo Picasso, The Lovers, The National Gallery of Art, Washington, D.C. 2 class periods Materials Light colored construction paper, pastels, kneaded erasers, thin and thick brown markers (optional), paper-blending stumps Art Resources Reproductions showing a caring relationship among two or more figures. For example:

Cassatt, Mary (American, 1840-1926), Sleepy Baby, Dallas Museum of Art. de Hooch, Pieter (Dutch, 1629-1684), Mother Nursing Her Child, The Detroit Institute of Arts. Picasso, Pablo (Spanish. 1881-1973), The Lovers, The National Gallery of Art, Washington, D.C. Tanner, Henry 0. (American, 1839-1937), Banjo Lesson, Hampton University Museum, Hampton, Virginia.

A LESSON TWO

If you cannot locate these images, use Space: Referring to the emptiness or area others that exemplify this lesson's topic: between, around, above, below, or within people in a caring relationship. objects. Contour lines: Lines creating boundaries Vocabulary that separate one area from another; the Line: A mark that defines the contour of a definition of edges and surface ridges of shape; linear aspect of a work of art. objects and figures. Shape: A flat, two-dimensional form The vocabulary wordsdefined by its outline. Planning and Preparation are for the teacher to Color: Derived from reflected light; all of 1. Decide how you will display your use consistently in the its hues. art resources. lesson, thus expanding children's vocabulary indirectly and naturally.

Henry 0. Tanner, The Banjo Lesson, Hampton University Museum, Hampton, Virginia.

BEST COPY AVAILABLE A-10 3 4 LESSON TWO 2. Read biographical information. elements are used by the artists to ART create emotional effects. 3. Gather art supplies and have them ready. When a student responds, have him The people in or her point to the line, such as along our lives Instructional Strategies the edge of an arm. Tell students that and Motivation some lines are contour lines and they The artworks in this lesson show define the edges of objects and images of two caring people. This figures. Ask the students: What kinds Due to family unit theme is universal and has been of shapes do you see? (circles, rectan- changes (i.e., mother depicted by artists in many cultures gles, triangles, squares, ovals) What working, divorce, etc.)., throughout history. Try to choose art the prime care giver is kinds of colors do you see? (bright, soft, resources that reflect this theme. not always "Mom." It dark, strong) Are they warm colors? could be "Dad," Students will then begin to (reds, oranges, yellows) Are they cool neighbor, friend, understand that art reflects society grandparent, day care. colors? (blues; greens) What kinds of and that some values, such as love, space do you see? Do the people fill up the trust, and caring, are constant. space or is there a lot of space in-between Instruction or around? Discuss how different 1. Begin the art lesson by telling lines, colors, etc. are used to establish students that the artworks they are moods and feelings. looking at today are about two people Production Activity who care for each other. Ask the 1. Tell students that their art students: Who are some of the people in production activity will be to create your life for whom you care? Who are an original drawing of themselves sonic of the people in your life who take and someone for whom they care or care of you? two other people for whom they have Introduce the works of art to the affection. Tell students that we want students and give them biographical to portray a sense of caring by use of information, such as the artist's name,visual elements that we discussed in the title of the artwork, when the the works of art. artwork was created, and where the Note: Avoid stereotypes. Suggest a rule artwork was created. Discuss the that hearts are not allowed, and ask caring relationships developed in the children to offer more imaginative ways of artworks. Ask: How did the artists show expressing themselves. caring? 2. Suggest that students start with a 2. Refer to the artwork to have pencil drawing outlining the two students find and describe these people. Fill in the drawing with elements: line, shape, color, and pastels, blending to make colors very space. Ask the students: What kinds of soft, and adding more pastel to lines do you see? (straight, curved, darken or brighten. Demonstrate on thick, thin, jagged, vertical, paper how to blend with pastels, horizontal, broken) Discuss how the rubbing the pastels together with

A-11 LESSON TWO

your finger, a tissue, or a paper Evaluation ART stump. Tell students they can add 1. Were students able to recognize `TOUCHES pastel around the figures too. caring relationships as portrayed in The people in works of art? (Possible assessment our lives 3. Optional: After color has been methods: large- and-small-group applied, direct students to draw over discussions of artworks) their pencil drawings with brown Magic Marker, defining the edges to 2. Were students able to identify line, Allow students create the contour lines. shape, color, and space in works of additional time to art? Were they able to relate these complete their work, elements to the artists' expressions of possibly Owning another entire period AND in order to include evaluation.

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Mary Cassatt, Sleepy Baby, Dallas Museum of Art.

A-12 BEST COPY AVAILABLE

7:7

1 LESSON TWO mood and feeling? (Possible methods: Picasso, Pablo (Spanish, 1881-1972). Certain world situations affected him ART group discussions, individual strongly and shaped his work. TOUCHES' 1,, interviews, simple worksheets based Several artistic periods in his life. Two on artworks) early ones were the blue periodpainted The people in the poor and miserable, and he was very our lives 3. Were students able to recognize sad; and the rose period vegan to paint specific artworks and discuss the more cheerfully. His subjects at this time were clowns, harlequins, and strolling themes they portray? (Possible musicians. methods: simple identification quiz, Became interested in cubism at a time Balance and emphasis discussion, interview) when the world was making many upon goals will vary scientific advances (1907-1914). according to each 4. Were students able to use pastels Blitz bombings of civilians in the teacher's instructional Spanish Civil War resulted in his very priorities. and markers as instructed to portray famous painting Guernica. a caring feeling between two people? Continued to work in all media with an abundance of energy that seemed (Possible methods: analysis of inexhaustible throughout his life. children's art production) Painted until he died at the age of 91. 5. Were students able to recall art Tanner, Henry 0. (American, 1859-1937). historical content emphasized in the Born in Pittsburgh, Pennsylvania. Son of a bishop of the African Methodist lesson? (Possible methods: writing Church. assignments, simple response quiz, Became interested in painting at age 13. identification of artworks and artists, Early works included landscape paintings and small sculptures of the discussion) animals in the Philadelphia Zoo. Studied at the Pennsylvania Academy of Related Activities Fine Arts. 1. The medium of watercolor could beStudied and worked with the artist substituted for pastels because of its Thomas Eakins, who painted a portrait of Tanner. soft quality when used as a wash. Revered as early painter of the black American experience. 2. This lesson could be done near a holiday so that a child might bring Additional Resource Prints for Lesson Two home his or her artwork as a present. Eyck, Jan van (Flemish, c. 1395-1441), Biographical Information Wedding Portrait, National Gallery, Cassatt, Mary (American, 1854-1926). London. Born in Pittsburgh, Pennsylvania. Ghirlandaio, Domenico (1449-1494), Daughter of a very wealthy family. An Old Man and His Grandson, Louvre, Spent her childhood he Europe. Came back to America and studied at Paris. the Pennsylvania Academy of Art until Morisot, Berthe (French, 1841-1895), she was 23. The Cradle, Louvre, Paris. Went back to Europe, met Degas. One of two women and the only Peale, Rembrandt (American, 1778-1860), American to show with impressionists. Captain Paul Ambrose Oliver and His Subject matter was pastimes for women Daughter Marv, The William Benton in the nineteenth century and scenes that Museum of Art, Storrs, Connecticut. reflected the life around her. Strongly influenced by Japanese prints. Awarded the French Legion of Honor in 1914.

A-13 3'7 Sharing

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George Segal, The Dancers, The National Gallery of Art, Washington, D.C.

The prime function of art is to make the felt 3. Understand the difference between

tensions of life...stand still to be looked at. foreground, middle ground, and Susanne Langer (1967, vol. 1, p. 115). background. (AC)

Objectives 4. Work in small groups to create a The students will: cooperative art project. (AP) 1. Explore the theme of sharing among 5. Use two- and three-dimensional friends as depicted in the world of art. materials to create a work of art that (AE, AH) demonstrates an understanding of space. 2. Review the use of line, shape, color, and (AP) inimmspace in works of art. (AC, AH) A-14 3 Li LESSON THREE

6. Demonstrate the use of over- Vocabulary lapping in their artwork. (AE, AP) Two dimensional: In art, having its ele- TOLICHS: ments organized in terms of a flat sur- Time face having length and width only. The people in 2 class periods our lives Foreground: Part of the picture plane that appears closest to the viewer. Materials White and colored construction Middle ground: Area in a picture paper, crayons, Magic Markers, between foreground and background. Cther ideas for materials are in the scissors, glue, various sizes of Styro- Background: Part of the picture plane extensions section. foam sheets 1" thick, toothpicks, that seems farthest from the viewer. Substitute images as Popsicle sticks necessary, keeping in Overlap: To cover over something; to mind the concept Art Resources "sharing among create layers. friends." Reproductions showing figures and foreground, middle ground, and Planning and Preparation background imagery. For example: 1. Decide how you will display your art resources. Okyo, Maruyama (Japanese, 1733- 1795), detail of handscroll, 2. Read biographical information. Entertainments of the Four Seasons in 3. Gather your art supplies and have . Kyoto, The Detroit Institute of Arts. them ready. Segal, George (American, sculptor, 4. Plan where you will store partially 1924present), The Dancers, The completed artworks until the second National Gallery of Art, art period. Washington, D.C. 5. Plan evaluation strategy. Unknown artist (American, Instructional Strategies nineteenth century) The Quilting and Motivations Party, Abby Aldrich Rockefeller Folk There are many dynamics that may Art Center, Williamsburg, VA. occur in your class when students (Quiltmaking was a popular and participate in small-group projects. useful craft in the nineteenth Consider how your students will century, resulting in many original select their partner or partners. You designs and variations.) may leave the decision to them, keep them in their usual cooperative learning groups, or initiate a procedure such as counting off. Plan ways to bring a child who may be left out into the group. Some students may tend to dominate, and you'll need to bring quieter children into the decision-making process.

A-1539 LESSON THREE ART Suggest ways to divide the labor Production Activity: A 3-i) Picture when making the artwork, for 1. (-lather students around materials to TOUCHES example, each student will make one begin demonstration. Tell students that The people in figure and part of the environment. they will be creating in their groups a our lives To reinforce the terms foreground, scene on the theme of "sharing," showing middle ground, and background, have foreground, middle ground, and the students assume those positions. background. Help them find aesthetic reasons for the When answering Instruction questions about the1. Introduce students to the works of decisions they will make as a group: What meaning of artworks,art used for this lesson. Give some sorts of things should be included? How war not all students will they show the idea of sharing? etc. have the samebiographical information. Note and responses.discuss differences in the Japanese 2. Cut out an image of a tree, animal, art. Ask: How can you tell this came figure, chair, etc., and attach it to a from another culture? popsicle stick or toothpick. Stand it up by 2. Tell your students that the artwork pushing it into the Styrofoam. is about sharing situations among 3. Give students ideas about how much to friends. Ask your students about the include in their picture. Each person in meaning of the artwork: Does the artisteach group should contribute a figure to seem interested in expressing a feeling or show "sharing" and other imagery emotion? What words do you think required to create the scene. would describe the meaning of the 4. Give students ideas about placement of artwork? (love, excitement, courage, the things they want to put in their adventure, sadness, fun, etc.). picture. Talk about the effect of 3. Ask students to describe how the overlapping images. artist used foreground, middle 5. Help students decide when they have ground, and background in different included enough images in their pictures. ways to create space. Talk about space that goes up, down, around, Evaluation and in-between. You could have I. Were the students able to understand students hold hands like the figures and verbalize the theme of "sharing" in Segal's The Dancers. This is one waydepicted by works of art? Were they able the students could physically show to interpret meaning and feeling related to variations of space. the theme? (Possible evaluation methods: class discussion, small-group discussion, 4. Help children to choose their partners. simple response sheet using "polar pairs" 5. Guide students to pick their theme for of opposite words, such as "exciting - the joint project (things they might like to dull" or "happy sad") do together, such as a picnic, ice skating, going on a trip, playing games, etc.). Ask them: What would you like to do together? 4 0

A-16 LESSON THREE

2. Was there evidence that students 4. Variations of materials: Styrofoam

understand ways artists use spatial packing sheet, regular cardboard, or a frp. 7 TOUCHES relationships, such as overlap, fore- box could be used as a base to make ground, middle ground, and back- objects stand; a tab could be attached ground? (Possible methods: to each. observation of production activity, 5. Ask the class to collect pictures of discussion of artworks) artworks from many cultures and 3. Were students able to recognize sources that depict the theme of and discuss characteristics of the "sharing." Place the pictures on the Japanese artwork? (Possible method: display board and discuss as the Ask students to pick out a Japanese display grows. Find as many different artwork from an array, possibly usingcultures as you can. postcards of artworks) Biographical Information 4. Were students able to work Okyo, Maruyama (Japanese, 1733-1795). cooperatively in small groups? Master of realist school of painting in Related Activities eighteenth-century Japan. 1. Class could do another project An aristocrat and calligrapher where each group's part, when reknowned in Kyoto. (Note: The scroll combined, would create a larger used as a reference in this lesson is believed to be a preliminary study for a theme (such as a circus, a train, a set of two scrolls of identical subjects village, or sight-seeing on a trip). painted with colors and ink on silk in the Tokugawa Art Museum, Nagoya, Japan.) 2. Children could depict a well- Segal, George (American, 1924present). known story or fairy tale in their group project and change the ending Concerned with everyday themes. of the story to reflect the idea of Creates his sculpture by wrapping real "sharing." people in plaster-imbedded gauze bandages and reassembling the pieces 3. Peer evaluation would he appropri-after they are cut off. The sculptures are ate, encouraging each group to share then combined with real and ordinary objects to create scenes of people doing with the other groups. ordinary activities (the bus, theater, and gas stations are all backgrounds for his sculptures). Often associated with pop art.

Marti varna Okyo, detail4$4. of handscroll, Entertainments of tiu, Four SelltiOlIS in, Kyoto, The Detroit Institute of Arts.

, v. Feelings

4. Create an abstract painting about a personal feeling. (AP) efr Time 1 or 2 class periods

Materials Paper, tempera paint, brushes, cardboard scrapers, string, sponges, egg cartons, paper cups or small glass jars to dispense paint s,

a 4'4/ Art Resources Reproductions of representational and abstracted subjects. For example:

Wassily Kandinsky, Sketch for Painting with Kandinsky, Wassily (Russian, White Border, The Phillips Collection, 1866-1944), Sketch for Painting with Washington, D.C. White Border, Phillips Collection, Washington, D.C. "The only adequate symbolic projection of our insights into feeling. .is artistic expression." Marc, Franz (German, 1880-1916), Susanne Langer (1967, vol. 1., p. 103). Deer in the Forest, Phillips These resources were Objectives Collection, Washington, D.C. chosen because they The students will: show a progression. Picasso, Pablo (Spanish, 1881- 1. Recognize the difference between Use additional abstract 1973), The Tragedy, The National paintings as needed to representational and abstract art. (AC, clarify the concept. AH, AE) Gallery of Art, Washington, D.C. 2. Observe that abstract art can express Vocabulary feelings. (AC, MI, AE) Representational: As opposed to 3. Analyze works of art identifying abstract, the portrayal of an object in rhythm as movement created by recognizable form. repetition. (AC)

A-18 42

..1.115arrar 4 LESSON FOUR Abstract: Artworks that stress the we are looking for a connection ART importance of elements and between art and a personal OUCHES - principles of design, rather than experience, which may not always be -. subject matter. Abstract artists select something one wants to share, this is The people in our lives and then exaggerate or simplify the also a valid response. forms suggested by the world around Instruction them. 1. Introduce the works of art selected Rhythm: A principle of design that for this lesson with appropriate Students are learning indicates a type of movement in an identification. to use art criticism artwork or design, often by repeated with confidence now, 2. Explain that some of the works of since they are recalling shapes, lines, colors. art are abstract and tell your students what was covered in lesson two. Planning and Preparation the meaning of abstract. Ask: Who can 1. Decide how you will display your tell me which of the artworks are art resources. abstract? Which are not?

2. Read biographical information. 3. Tell students that abstract works of art can make us feel a certain way too. 3. Gather art supplies and have them Artists do this through their use of ready. line, shape, color, and space. 4. Plan the logistics of the art 4. Ask your students: What kinds of production demonstration. lines do you see? Do you see those lines 5. Plan evaluation methods. repeated in the artworks? What kinds of shapes do you see? Are the shapes Instructional Strategies repeated in the artwork? What colors do and Motivation you see? Which colors are repeated the The concept of an artwork being most? Rhythm is created in art by abstract is one that may be new and a repetition. Playing some background little more difficult for your students music during art production may to understand. Rely on the create a good environment in your knowledge your students have classroom for this lesson. Young acquired about the elements of design children can be very rhythmical, and to help you teach this lesson. The music may help suggest ideas for examples selected for this lesson were their own abstract images. Ask the chosen deliberately so that your music teacher in your school for some students can progress gradually from input. artwork that is representational to artwork that is abstract. During the 5. Ask your students: What feelings do This is a question that art activity, there may be voluntary you think the artist was trying to convey will evoke an aesthetic discussion among students about the by repeating certain lines, shapes, and response. feelings represented in the painting. colors? List these feelings on the There may also be some students board. Make a list of other feelings by who keep their feelings private. Since brainstorming with the class.

A-19 4 3

14, Pablo Picasso, The Tragedy, The National Gallery of Art, Washington, D.C.

Activity They may use any colors that they decide 1. Tell students that the art-production are appropriate and make available a activity is to create a painting that variety of tools with which to paint. represents any feeling that they choose. Remind the students to keep their LESSON FOUR painting abstract and apply the principle 3. Were students able to show rhythm of rhythm through repetition in their created by repetition in their ART work. paintings? (observation of student art TOUCHES products) The people in 2. You can demonstrate some of the our lives following procedures: Related Activities 1. You might want to have children Repeat the same lines with a brush. practice choosing abstract works of Repeat the same lines by printing art from representational pieces by the end of a cardboard rectangle playing an identification game using dipped in paint. museum postcards. Cut notches in the rectangle and 2. This lesson would also be interest- drag paint across the paper. ing as a collage using a variety of Dip string in paint and drop it on sensory and tactile materials. paper to make a flowing, curved line. 3. You might wish to develop a repre- Paint shapes with a brush, fill in sentational-abstract continuum on a with color. display board. Place a few very representational artworks on one side, a Sponge shapes, fill in with color or few more abstract works across the layer colors. middle, and some very abstract Cut a jagged line across a piece of works on the other side. Ask students construction paper, stencil with a to bring in pictures of artworks from wide flat brush or sponge; repeat the magazines or use a selection of stencil to overlap the stencil. museum postcards. Individually or as When you see your students using a group, students can place the art- the demonstrated techniques, direct works on the ,ontinuum and discuss students' attention to that procedure how appropriate the placement is. to reinforce instruction. The pictures can be moved and discussed from time to time. Evaluation 1. Were the students able to verbalize Biographical Information what the term abstract means? Were they Kandinsky, Wassily (Russian, 1866- able to recognize degrees of abstraction in 1944). The first abstract painter (the first artist to artworks? (Possible evaluation methods: abandon the representation of objects in discussions, interviews, observation of painting). student production. Make an array of Lawyer and political economist before he [numbered] artworks with clear became a painter. distinctions between representational and abstract. Ask students to list the muribers With Paul Klee, Auguste Macke, and Franz Marc, helped found the Blaue Reiter group. of the abstract works. The teacher can control the difficulty of this task.) His abstracts were characterized by brilliant color, swirling movement, and the 2. Did the students depict a personal forcefulness of expressionism. He later feeling in their art production? (Possible changed to a more precise, geometric art with methods: Observe intensity of involve- quieter color. ment while painting; discuss work with Became a professor at the Bauhaus. each student.)

A-21 4 5 LESSON FOUR

Marc, Franz (German, 1880-1916). Additional Resource Prints for Father was an artist. Lesson Four Impressed with the work of Henri Bailly, Alice (Swiss, 1872-1938), Self Rousseau and later Vincent van Gogh, Portrait, National Museum of Women in the Arts, Washington, D.C. Auguste Macke, and Kandinsky. Frankenthaler, Helen (American, 1928- Liked to paint the spiritual side of present), Blue Atmosphere, collection of nature. artist (Shorewood Print). Hopper, Edward (American, 1882-1967), About Deer in the Forest I, Marc said, Cape Cod Evening 1939, The National "Animals with their pure sense of life Gallery of Art, Washington, D.C. awakened all that is good in me" (Shorewood Reference Guide, p. 40). Miro, Joan (Spanish, 1893-1983), Portrait No. 1, Baltimore Museum of Art Picasso, Pablo See biographical (Shorewood Print). reference list for Lesson Two. Munch, Edvard (Norwegian, 1863-1944), The Scream, National Museum, Oslo. Whistler, James McNeill (American, 1834-1903), Nocturne in Black and Gold: The Falling Rocket, The Detroit Institute of Arts.

Franz Marc, Deer in the Forest 1, The Phillips Collection, Washington, D.C. LESSON ART TOUCHES The people in Everybody's our lives birthday

F I V E

George Catlin, Three North American Indians (detail), Brigham Young University Museum of Fine Arts, Provo, Utah.

Introduction 3. Create a sculpture of a party hat Everybody, in every time and place, hasusing three-dimensional paper a birthday. In this lesson we will techniques. (AP) celebrate everyone's birthday together. 4. Understand the difference between Objectives two dimensional and three The students will: dimensional. (AC) 1. Recall the variety of feelings Time expressed in works of art. (AH, AE) 1 or 2 class periods 2. Demonstrate his or her comprehension of design elements and principles used in this unit. (AC, AP)

4 7

A-23

.e ;1. , LESSON FIVE

3. Prepunch holes on small paper Materials plates (through masking tape to Small paper plates, hole punch, reinforce) and tie yarn so children can yarn, masking tape, construction wear the hats at the end of the lesson. paper, crayons, markers, glue, scissors. You could also have the 4 it would be helpful to have a following available: tissue paper, variety of widths and lengths of crepe paper, wall paper, glitter. colored paper strips available, as well In your last class Art Resources as your box of colored scrap paper for students painted a Reproductions showing people unusual shapes, to be included with "feeling" (two- other supplies. dimensional) and in wearing decorative hats. For this class students will example: 5. It would be helpful to do a labeled create a sculpture about a feeling Catlin, George(1796-1872),Three poster showing paper sculpture (celebration). North American Indians, Brigham possibilit .s. Young University Museum of Fine 6. Plan unit evaluation. Arts, Provo, Utah. Instructional Strategies Elisofon, Eliot (photograph), and Motivation Woman on Market Trip, Yoruba, Have the students recall all the ways Nigeria, Elisofon Archives, they have explored the theme of National Museum of African Art, caring in this unit. Make connections Washington, D.C. about artists and feelings that are Weyden, Rogier van der(1399/ mentioned and discussed. Show a 1400- 64), Portrait of a Lady, The picture or a work of art with a hat. National Gallery of Art, Explain that the picture is two Washington, D.C. dimensional. Show a real hat (any It would be helpful to hat) to reinforce the understanding of have art history resources used in this Vocabulary three dimensional. Look at art unit displayed for Sculpture: A three-dimensional work resources. reinforcement of of art. theme. Instruction Three dimensional: In art, having the 1. Arrange art resources so Tth dimension of depth as well as width comparisons can be easily made and length. among hats or head coverings. Try to Planning and Preparation find resources from various cultures 1. Decorate your classroom in a way with unusual head coverings to that alerts children to anticipate stimulate children's imaginations and something unusual is going to provide alternative ideas. See, for happen. Ideas: crepe paper streamers,example, the Yoruba (Nigeria) balloons, etc. Paper, balloons, and woman balancing baskets and gourds party horns would be fine. on her head, Catlin's depiction of Native Americans with various 2. Gather art supplies and have them headdresses, and van der Weyden's ready.

A-24 4 8

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40, LESSON FIVE portrait of a fifteenth-century woman Activity with a head covering. 1. Say: Because today is everybody's birthday, we are all going to get ready for 2. Using the art resources, discuss the the party. What would a party he without range of different types of hats and a hat, so we're going to make a "party head coverings (photographs of hats hat"a sculpture! (Explain sculpture.) are easy to come by, and a collection Refer back to the idea of a three- of hats can be displayed in the room). dimensional object. Explain that hats are created and that This can be a 2. Show "base" for hat (small paper some (that are especially creative and combination of art plate). criticism and aesthetics. carefully made) can be considered works of art. 3. Explain and demonstrate several procedures for creating paper 3. Head coverings and hats are often sculpture and how to attach it to the made to convey an ideasuch as a plate. (Stress variety of lengths and crown for a queen, a dunce hat, or a widths of paper). Show poster of clown hator even an occupation paper sculpture and demonstrate such as a firefighter's hat, a police hat,some of these techniques. Encourage or a hat worn for graduation. students to invent new ways to create 4. Artists have shown their interest in paper sculpture. Suggest that they head coverings by creating them and limit their colors to three and try to by making works of art featuring repeat lines and shapes. For example: them. Show as many examples of artists' works as you choose to convey the idea to the children.

5. You might say: Today we will create hats that will show the idea of celebration. In this class today, it is everybody's birthdau! Think about the type of hat you will create that will show the feeling of celebration for everybody's birthday. Artists have shown you that it feels good to care, to need somebody, to share, and to feel. Your party hat can combine all of these feelings.

Note: If a student thinks he or she is done, look for the element of texture. You might reinforce the idea of layers and overlapping shapes, and form patterns and texture either with Magic Markers Eliot Elisofon (photograph), Woman on Market and crayons or pasting cut-paper shapes. Trip, Yoruba, Nigeria, Elisofon Archives, National Museum of African Art, Washington, D.C.

A-25 49 LESSON FIVE

fringe (could be a feather) class categorization activity [group fold (accordion pleats and make a hats by mood they convey], self- shape like a triangle or rectangle) evaluations at end of activity) crumple loop 3. Could they use the terms Loo curl (demonstrate curling a paper dimensional and three dimensional around a pencil) accurately? tear Unit Evaluation make a cylinder or a cone (fringe the We chose "birthday" 1. Review the unit, the content taught, because all students bottom) learning activities, and children's art have a birthday and not create texture by crumpling or by products. For your own benefit, all students celebrate alloverlapping (polka dots) other occasions. spiral decide what information you need to any other procedures you do with determine your success in helping paper students reach the learning objectives you set for them. What learning 4. Have children glue each piece as might have occurred that you did not they create it. anticipate but would like to foster in 5. Walk around the room to give the future? Decide how you might individual help and to talk about collect the information you need to color design elements P.nd balance. strengthen this unit for future implementation. 6. Plan to have at least five to ten minutes at the end of the class to 2. You might wish to take a class share. Everyone can wear their own period to review the entire unit with hats and view theats created by the children and help them realize their classmates. what they have learned. For example, you might wish to show them the Evaluation primary artworks that were part of 1. Were students able to use a variety each lesson and learn what they of paper forms to create a three- remember about them, what things dimensional paper sculpture party impressed them, and what ideas seem hat? Did they demonstrate conscious to remain interesting to them. attention to design elements to convey mood or feeling? (Possible 3. By showing and discussing evaluation methods: observation and artworks used in the unit, you will be discussion with students during able to gain some estimation of the production activity, class discussion progress the children are making in of completed hats). their abilities to discuss art, interpret meaning in art, and know about art. 2. Were students able to verbalize what was special about each other's Related Activities hats and their own? Were they able to1. instead of "birthday," a teacher discuss expressive qualities of each may target a special celebration that other's creation? (class discussions, could be a school community activity. LESSON FIVE 2: Optional activity: Have students Mondrian, the use of basic primary ART parade with their hats! Let students colors, and white and black. share their excitement with others. TOUCHES '. 4. Students could use the month of The people in 3. If activity falls near a well-known their own birthdays as a theme for our lives artist's birthday, the children could their hat... toinfluence their colors dedicate their party and sculpture to and ideas. that particular artistsuch as

Teachers sometimes need more input and ideas in order to become more comfortable with including aesthetics and art criticism in art lessons. We have tried to clarify these areas through the margin notes.

Rogier van der Weyden,Portrait of a Lady,The National Gallery of Art, Washington, D.C.

A-27 LESSON FIVE

Art References Shorewood Collection Artists' Biographies for If you cannot use the references we Art, Reference Guide (Sandy Hook, CT: Shorewood Fine Arts Reproductions, suggested, please consider the 1987). The people in following when choosing other art our lives Simsbury Public Schools, Art Education history references: Curriculum, Grades K-6, preliminary draft 1. Artists with diverse styles should (Simsbury, CT, 1988). be included. State of Connecticut Board of Education, A Guide to Curriculum Development in the Acknowledging the2. Artists from many countries, ethnic Arts (Hartford, CT: 1981). different conditions that groups, and several centuries should Plus many general art education, art exist in art classrooms,be used to keep a global perspective. we have provided history books, and art curriculum programs. alternative production3. Because of the structure of this unit, activities under Relatedthe subject matter is important for Activities and in margin notes for the eliciting responses that will expand variables of the lengths the creativity and understanding of of lessons, availability the child. Diversity in a global and cost of supplies, in addition to theperspecti\ e will add to an awareness previous artand help to elicit the aesthetic and e.x-perierice of critical responses so necessary to students. stretch the breadth of the child's repertoire of knowledge, as well as to create a wealth of ideas for the art production. Our goal is to create visual literacy and acknowledgement of art as our cultural birthright. Selected References for this Unit A Visual Dictionary of Art ( Greenwich, CT: New York Graphic Society, 1974). M. Batten et al., Puzzles about Art: An Aesthetics Case Book (New York: St. Martin's Press, 1989). B. Burn, Metropolitan Children (New York: The Metropolitan Museum of Art, Harry N. Abrams, 1984). S. Langer, Mind: An Essay on Human Feeling, vol. 1 (Baltimore, MD: Johns Hopkins University Press, 1967). National Museum of Women in the Arts (New York: Harry N. Abrams, 1987). National Gallery of Art Catalogues (Washington, D.C.) 100 Masterworks from The Detroit Institute of Arts, (New York: Hudson Hills Press, 1985).

A-28 About the authors of this unit: Mary Lou Hoffman-Solomon Has been teaching art at all levels in public schools since 1968. Currently an instructor in art education at Central Connecticut College, teaching methods courses and supervising student art teachers. Former supervisor of Art Education K-12 in the Simsbury Public Schools, Simsbury, Connecticut, she supervised elementary, junior high, and high school teachers. Is a practicing artist, known for her ink drawings and pastel paintings. Cynthia White Rehm Has been teaching art grades K-8 since 1976. Is presently art coordinator in the Simsbury Public Schools, Simsbury, Connecticut. Is also a practicing artist, working in acrylics.

Cynthia Rehm and Mary Lou Hoffman-Solomon

A-29 ART Acknowledgments The authors and publisher would like to thank the following museums, collections, 'TOUCHES and private individuals by whose permission the illustrations are reproduced. The The people in page number on which the artwork appears is in parentheses at the end ofeach entry. our lives Mary Cassatt, Child in a Straw Hat, The National Gallery of Art, Washington, D.C., collection of Mr. and Mrs. Paul Mellon (p. A-3). Pierre Auguste Renoir, Woman with a Cat, The National Gallery of Art, Washington, D.C., gift of Mr. and Mrs. Benjamin E. Levy (p. A-4). Nicholas Vasilieff, Woman with White Dog, The William Benton Museum of Art, Storrs, Connecticut, gift of Peter H. Tillou (p. A-6). Oskar Kokoschka, Girl with Doll, The Detroit Institute of Arts, bequest of Dr. William R. Valentiner (p. A-7). Pablo Picasso, The Lovers, The National Gallery of Art, Washington, D.C., Chester Dale Collection (p. A-9). Henry 0. Tanner, The Banjo Lesson, Hampton University Museum, Hampton, Virginia (p. A-10). Mary Cassatt, Sleepy Baby, Dallas Museum of Art, Munger Fund (p. A-12). George Segal, The Dancers, The National Gallery of Art, Washington, D.C., gift of the Collectors Committee (p. A-14). Maruyama Okyo, Entertainments of the Four Seasons in Kyoto, © The Detroit Institute of Arts, Founders Society Purchase, Edsel and Eleanor Ford Exhibition and Acquisition Fund, Alan and Marianne Schwartz Fund with funds from Michigan National Corporation, Mrs. Howard J. Stoddard, and Mr. and Mrs. Stanford C. Stoddard (p. A-17). Wassilv Kandinsky, Sketch for Painting with White Border, The Phillips Collection, Washington, D.C., bequest of Katherine S. Dreier (p. A-18). Pablo Picasso, The Tragedy, The National Gallery of Art, Washington, D.C., Chester Dale Collection (p. A-20). Franz Marc, Deer in the Forest I, The Phillips Collection, Washington, D.C., bequest of Katherine S. Dreier (p. A-22). George Catlin, Three North American Indians, courtesy of Brigham Young University Museum of Fine Arts, Provo, Utah (p. A-23). Eliot Elisofon, Woman on Market Trip, National Museum of African Art, Eliot Elisofon Archives, Smithsonian Institution (p A-25). Rogier van der Weyden, Portrait of a Lady, The National Gallery of Art, Washington, D.C., Andrew W. Mellon Collection (p. A-27).

A- ,t) The Getty Center for Education in the Arts is interested in your opinions about this unit, your experiences teaching it, and/or its usefulness to you in creating your own DBAE curriculum. Please fill out this questionnaire and return it to the Getty Center at the address below.

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The Getty Center for Education in the Arts 40 i Wilshire Boulevard, Suite 950 Santa Monica, CA 90401-1455 Spaces and Places is the title for an elementarylevel unit on architecture. This unit is organized to show how a topic might bearticulated from one grade level to another. The first two lessons are writtenfor third graders, lessons three and four are for the fourth grade, and lessons five and six areintended for fifth graders. The unit leads from a study of spaces and places inbuildings, starting with the school building, to a study of what architects do andhow they go about their discipline, then on to an introduction of a famous Americanarchitect, Frank Lloyd Wright. Children engage in a range of activitiesincluding interpreting the expressive qualities of architectural spaces, collecting anddisplaying photographs that depict many types of buildings,drawing floor plans, studying influences of geography and environment on architects' plans, andconstructing their own model buildings with paper forms.

J6 BEST COPY AVAILABLE

to accommodate different age levels, introduchon the entire package could also be As art teachers, we decided to presented as a single unit. address the challenge of including We view architecture the art form of architecture in the Goals for the Unit as a natural topic for elementary curriculum. This unit Students will develop spatial concepts relating art to the presents a strand that can be through a study of architecture. They rest of the elementary curriculum. presented in several ways. It will learn to understand architecture introduces and examines some of the as an artistic mode that deals with many factors that influence the form and interior and exterior space. design of structures for human use. They will begin to recognize its relationship to the environment, From our knowledge of children, we cultural influences, and personal believe that grade three is a good needs. They will be introduced to the level to introduce the study of work of famous American architect architecture. The concept of space in Frank Lloyd Wright. Wright was art can be taught as it relates to chosen because of his integrated buildings, environments, emotional organic style and his reputation as an effects, and personal and cultural established American architect. There influences, as well as the making of are numerous visuals and books art. The first two lessons have been available about him and his developed with third graders' architecture. capabilities and interests in mind. SPACES AND PLACES Fourth graders are ready for the An Introduction to Architecture content of lessons three and four, Unit Overview which deal with the topics of Grade 3 architects, what they do, and how Lesson 1: This Space Feels Like. ..(2 parts) they utilize building sites in their Lesson 2: Discovering and Producing planning. Forms (2-3 parts)

The American architect Frank Lloyd Grade 4 Lesson 3: Who Are Architects? What Do Wright is the focus of lessons five They Do? (2 parts) and six, intended for fifth graders. Lesson 4: Why Do We Live Where We Do? Taken together, the three mini-units (2 parts) compose a vertical strand that can be Grade 5 taught by art specialists as a sequence Lesson 5: A Famous Architect and His Work (2 parts) of developmental experiences in discipline-based art education. With Lesson 6: A Home Is More Than a House (2 parts) a larger time block and modifications LESSON This space feels like 1 to N E

3. Experience and recognize Grads 3 emotional qualities depicted by (two 60-minute art periods) artists' interpretation of space. (AE, Objectives Art Criticism [AC]) Students will: 4. Show understanding of scale by a 1. Be able to relate personal simple drawing. (Art Production experiences with spatial interiors to [AP]) architecture. (Aesthetics [AE]) 5. Examine several depictions of 2. Define length, width, and depth. architectural space by recognized artists. (Art History [AH])

Preparation Consult and inform administrators about students exploring various spaces around the school building as an introduction to learning about architectural space. Be sure that students actually explore a variety of spaces on their own or conducted by an adult. Perhaps assign them to find rooms that are grand or spacious, narrow, comfortable, tight, or dark or mysterious. Resources Display photos and paintings that you have collected of interior views with contrasting feelings, such as palaces, churches, homes, schools from various times and places. Include artworks showing interiors, such as the following:

Daumier's Third-Class Carriage Hockney's Mr. and Mrs. Ossie Clark & Percy Homer's The Country School de Hooch's Interior with People and Mother Nursing Her Child van Gogh's Bedroom, Potato Eaters, and Hospital at Arles Vermeer's A Painter in His Studio and The Letter Mount and laminate examples on heavy paper for greater durability.

B-4 8 LESSON ONE Part One would feel in each space, and why: Procedure Relate these feelings to the size of the 1. Students have been on a supervisedspace. Briefly list on the chalkboard exploration of various rooms and or chart paper the adjectives used in spaces (see Preparation). Ask them to the discussion. close their eyes and recall a favorite 2. Talk about the way artists might place. Enrich their imagery with show some of these interior spaces contrasting adjectives in questions with one or more persons in them to such as: "Was the space gigantic or tiny?communicate the various feelings Was the ceiling high or low? Were you mentioned by the students, for happy, warm, relaxed, or sad, alone, and example, cramped and crowded, scared?" restful, free and open. Continue to explore with children the3. Have students draw simple feelings they experienced as they in- pictures, using the size of the entire vestigated the interior of their school paper, to represent the room and in other rooms, large and small. Dis- showing themselves in approximate cuss the kinds of activity that would scale to one or more of the rooms. be possible in each room: dancing, Label the room and (optional) list the crawling beneath a chair or table, adjectives that apply. curling up, running. Ask how they

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Winslow Homer, The Country School, The Saint Louis Art Museum.

13-5 LESSON ONE Part Two spaces and what clues the artists provided. Do all agree? Why or why Procedure not? 1. Review previous experiences in interior spaces. 3. Review with students:

2. Present, one at a time, half a dozen "We moved through various spaces in reproductions of art showing interior school and these spaces gave us feelings. spaces. Help students identify We discovered three dimensions: length, This is one way to reproductions that match the width, and depth. We recalled how one extend and integrate the adjectives recorded earlier. Discuss art experience into other space flows into another space via doors, parts of the school day. how each artist depicted space in the stairways, and hallways. We saw how Type the extensions and paintings. Identify the artist's artists utilize space, color, and size to provide reproductions individual spaces: private spaces for for classroom teachers. create feelings such as we experienced." each person or larger spaces for 4. Allow students to complete their groups of people and their activities. drawings using color, if they wish, to As children express an opinion, ask them to point to specific parts of each suggest their feelings. painting to justify their statements. 5. Spend the rest of the period with Ask them to tell how they estimated evaluation strategies such as the the size and shape of the enclosed following.

Interior Space Checklist: Art Print number Put an "x" in the space next to the word that best describes your ideas about the interior space of the art print you are viewing.

1. bright dark 2. happy sad 3. large small 4. wide narrow 5. high low 6. cozy open 7. lonely safe 8. free restricted 9. tight loose 10. empty crowded 11. short tall 12. tense relaxed 13. hold one person holds several persons

Name: Teacher: 6L

B-6

rVw...110,4 CM ...P.. LESSON ONE

Evaluation Extensions Ask the class as a group to Write or tell a story about what might demonstrate the meaning of length, have occurred in the space as width, and depth. illustrated by the artists. Observe children's drawings to Document a walk around the school determine if they understand the sizeor neighborhood with photos or vid- relationship of people to different eo for visual display or class review. interior sp, ces. Number several of the art reproductions depicting various interiors used in the previous discussion and distribute a checklist (such as the one above) to each student. The checklist will use pairs of contrasting words to represent ideas or feeling qualities such as bright vs. dark (emotional), cozy vs. scary (emotional), large vs. small (size, scale), and one person vs. several persons (space accommodation). Each of the numbered reproductions might be evaluated by each student using a checklist such as this. Ask students to discuss reasons for their selections of descriptive words. Can students connect visual Jan van Eyck,Saint Jerome in His Study, The Detroit Institute of Arts. characteristics of the interiors with the moods they convey? Do students understand how architects can create moods by controlling shape, color, size, and space? DiscoveringL E S S O N and producing 2 forms w

enclosing forms to the sizes and Grads 3 purposes of the interiors. (two or three 60-minute art periods) Objectives Introduction Stuck Lit'; will: Having considered interior spaces, 1. Identify three-dimensional forms in students will now observe the forms various architectural buildings. (AC) apparent in the exteriors of various 2. Be introduced to architectural buildings, relating these space- landmarks. (AH)

Preparation Mount, laminate, and display photos of as many architectural forms as possible with examples of usage by groups of people (airports, churches, libraries, galleries, barns, skyscrapers, apartments, and homes). The photo examples should include nationally known architecture and local architectural landmarks. Some of these will also be used for an activity. (Find examples in social studies picture sets, magazines, travel posters, etc.) We assunu' that elementary art teachers Resources are used to collecting visual resources such as Collection of photographs of architecture, including well-known, the pictures mentioned exemplary buildings from the United States and around the world, such as in thisunit. the following:

The Empire State Building The White House The Guggenheim Museum of Art Brasilia, Brazil The pyramids of Egypt The Parthenon The Eiffel Tower The Taj Mahal The new glass pyramid at the Louvre in Paris and many other examples of the world's interesting architecture, including mosques, cathedrals, and Native American cliff dwellings. 62

B-8 LESSON TWO

3. Consider the implied purposes/ Precut construction paper into functions of the buildings. (AE) various shapes and sizes, including 4. Increase their architectural many long thin pieces for vocabulary by learning and using constructing domes. Provide glue, new terms. (AC) tape, pencils, scissors, and rulers 5. Construct three-dimensional paper(optional). forms (teacher directed); assemble Patterns for small and large pyramids and attach three-dimensional forms; should be provided for use in the manipulate three-dimensional forms, Alternative) /, this paper sculpture activity. lesson could have been keeping in mind the building's designed around Native intended use. (AP) Vocabulary American dwellings, for Post words and check to see that example, longholise, Materials chickee, tepee, pueblo students know their meanings: Three-dimensional forms of complex, wikiup, hogan, and the stone evidence geometric solids: sphere, cube, space/volume, height, width, length, of dwellings of pre- rectangular prism, cylinder, cone, interior, exterior, vertical, horizontal, Columbian cultures. hemisphere (dome), pyramid, and so cylinder, dome, cone, pyramid, on to use as forms with the displayed sphere, cube, rectangular, prism, architectural photos. landmarks, architect.

Note: 'ihese are available in school- supply outlets, math departments, or can be built from Styrofoam or paper by the teacher.

Kay Alexander, Lighthouse, Coast of Maine, 1989. 6-i

B-9

Iffiff7rzkFT`fr':7. LESSON TWO Part One 4. Does the decoration relate to the function of the building? What is the Procedure purpose of the decoration, if not 1. Review briefly the preceding lessonrelated to the building's function? on interior spaces and introduce the Ask: What kind of artist planned and concept of exterior forms. designed these buildings and what is an architect? 2. Direct students in groups of 4-6 to match three-dimensional geometric 5. Conclude this section with solids to individual architecture discussion of the following questions photos. Assign each group one or and ideas: more specific pieces of architecture How old are some of these buildings? for identifying the forms of each Why are these buildings important building. Three-dimensional models to us? are used as a reference to specific Why is preservation very important for buildings. national and public buildings? Note: Harry Broudy's system of How are these old buildings "Aesthetic Scanning" (taking inventory maintained? of sensory, formal, technical, and Why do we save these old buildings? expressive properties) could be used in the Historic buildings are listed and examination of larger photos as an all- registered with the National Trust for class introduction to this activity. Historic Preservation to save them from the wrecking ball and to qualify the 3. Discuss the intended purpose for, owners for low-interest loans to maintain or function of, each building. Is the the structures. Is preservation important purpose suggested by the for every building? architectural forms? What feelings do How would you decide what buildings the forms suggest? to save or preserve?

6 4 Kay Alexander, New England Churcl , 1990.

B-10 LESSON TWO Part Two materials. Distribute materials and circulate to assist. The students might Introduction also identify windows and doors Explain that the students are to create with felt markers, drawing carefully three-dimensional forms for a on the outside of their buildings, but specific purpose. Each student is to care should be taken not to let surface pretend to be an architect with an decoration become the emphasis assignment for a specific structural retaining the unmarked form focuses use. Tell the students that they will attention on the three-dimensional Third-grade children first draw a rough draft of the basic are surprisingly structure. forms to be used for their individual capable of working with paper in three buildings. Evaluation dimensions, if they Could students identify the forms in recieve basic Note: If students have had little instruction and sonic the buildings? experience with paper sculpture, practice. demonstrate how to make basic forms Did they participate in discussion and let them practice before proceeding about the landmark architecture? on buildings, perhaps in small Observe students as they create three- cooperative learning groups. This dimensional forms with paper. Note practice will necessitate an additional participation, concentration, interest, period prior to the construction of the technical problems suggesting buildings and the evaluation activities. instruction, and each student's Procedure progress. . Have students make aquick draft and then ask them to refer to their drawings during the following discussion and demonstration. Ask students to consider these questions: Who plans and designs buildings? What is your building's purpose? What are the basic forms that you need to create for your architectural model?

Note: Explain that students' sketches may he altered as they work and that they will be useful during and after the construction of their models, as references and architectural drawings.

2. Recall the folding, rolling, and fastening of three-dimensional paper forms. (Demonstrate how to make a cone, a pyramid.) Direct the students Kay Alexander, East Building, National Gallery to create a building with a specific el Art, 1990. purpose, using the precut papers and

B -11 6 5 LESSON TWO

Review with students to see if the Have an architect visit the class to building's intended use was discuss her or his profession. considered by each student Cluster children close enough to see "architect." the pictures or use an opaque Have each student define their projector to show the photos of building's use and consider how longprominent architecture. they, as an architect, would like their building to be maintained Note: Laminate items for greater durability when used by students in Prepare and distribute an various exercises. Three-dimensional architectural vocabulary word-search forms are often introduced in the second game. semester of the third-grade math and Related Activities language arts curricula. The production Identify prominent local public activity could also be adapted to small groups, emphasizing cooperative buildings and their architects, and, if learning. to possible, take a field trip. Draw or make a collage or an assemblage, recalled or imaginary, of part of the community. Begin a bulletin board and/or book collection of nationally recognized architecture. Search for artists' portrayals of famous architecture: for example, Georgia O'Keeffe'sRanchos de Taos andNew York Skyscrapers.Do a critical analysis of the artists' interpretation by comparing it to a photograph. Work cooperatively with classroom teachers on a writing assignment. For example:

"Pretend that you arc King Kong and you have climbed up to the top of a skyscraper. How did you climb to the top? What shapes did you travel over? What kinds of materials were used in the building? Wily did you climb to the top of this building? What does it look, feel, or smell like at the top? How will you 6 i; leave?"

B-12 LESSON Who are architects? What do they do? 3 THR EE

3. Maize rudimentary floor plans of a Grads 4 dwelling. (AP) (two 60-minute art periods) Part One Introduction Procedure This lesson introduces students to 1. Show pictures of architect-designed architecture as a form of art and its dwellings to familiarize students with designers as artists with particular the wide variety of solutions talents for conceptualizing and architects have provided to a designing buildings. common problem: What should a Objective home be? Students will: 2.2 Review with the children the idea 1. Learn that architects are artists that familiar buildings were planned who design buildings, including and designed by artists called dwellings. (AH) architectsand that architects combine 2. Understand the meaning of floor art and science when they design plans and elevations. (AC) buildings that are both beautiful and

Preparation Gather books on architecture. Collect blueprints and floor plans.

Find children's picture books on architecture, such as the series by David Macaulay, and books that show how animals construct their dwellings. Resources Pictures of houses, apartments, hotels, condominiums, and other architect- designed dwellings, exteriors, and interiors. Try to include some work by local architects. Show original blueprints as well as blueprints in math textbooks. Materials Scratch paper, 1/2 in. graph`paper, pencils, rulers.

B-13 6

'Afir74,1.W' t :-`,1" 7,4s, r`;. LESSON THREE

functional. Help them conjecture Evaluation about an architect's training. Ask if Circulate among the student they know anyone in the community designers to encourage clear designs who is an architect or a building that and to determine which ones need has been designed by one (e.g., their help in thinking spatially. school, a church, public building, Ask students to describe an landmark home). Describe briefly the architect's job and the aptitudes and job of an architect. This is an opportunity training necessary to become this to relate to the3. Make a list on the chalkboard as kind of artist. community and children identify the functions that introduce sonic career information. are performed in a dwelling: for Part Two example, sleeping, eating, cooking, Procedure learning. Name the rooms that meet 1. If an architect is available to talk these functions. Stretch to include with the students, ask him or her to such spaces as halls, closets, attic, bring one or more sets of blueprints basement, garage, pantry, and the for the children to examine and talk like. about. Or borrow some blueprints 4. Show one or more blueprints, and conduct the same lesson. relating them to "maps" of rooms and2. Describe the drawing of these more walls. detailed plans as the work that 5. Demonstrate the process that follows the loose planning achieved architects and clients go through in by the diagrams. Suggest that the initial planning of a custom home:children find the living room and for example, on the chalkboard draw look for doorways into other rooms, a rectangle to represent the living discriminating between doors and room. As children name the rooms, windows. Help them relate these add smaller or larger shapes adjacent rectilinear plans to the "loose" floor to one another to indicate all these plans they developed. other areas of a one-story home, 3. Call attention to the difference labeling each. Show where doors between the floor plan and the plans would join the rooms. of the elevations: maps of floors/maps Note: For less mature groups, begin by of walls. Answer questions about "mapping" the section of the school wherescale-drawing and the like if they their classroom is located, developing the arise. sketch cooperatively on the chalkboard. 4. Using rulers, pencils, and 1 /2 in. 6. Distribute scratch paper and graph paper (to guide horizontal and encourage students to design, with vertical lines, not for scale), have rapidly drawn rectangular or oval students draw a floor plan of their shapes, their dream home, or re- "dream house." Allow the create the plan of their existing modifications and refinements that dwelling. 68

B-14 LESSON THREE

reflect increased understanding of Related Activities the task. Relate the study of architecture to other subjects in the fourth grade curriculum. Evaluation How do different cultures express their Listen to conversations and observe values and lifestyles in their architecture? the students at work to determine if What place do buildings occupy in historical they understand the meaning of floor events? How do people's homes reflect their plans and elevations. Circulate and way of life? What effects do weather and help individuals to understand time have on dwellings and other buildings? concepts. How do people in various locations build to Display students' floor plans and counter the forces of nature? Are birds, other drawings of their proposed annuals, fish, and insects good builders? dwellings. Let students explain the Through questions such as these, art features of their planned dream teachers and classroom teachers can house to the class. relate concepts from the study of architecture to social studies, history, science, and mathematics.

Kay Alexander, White House Ruins, Interior, 1990.

b-15

;1;42.1..g7 .5,44! ,.1,-,:14.72. F Why do we live where we do?

We suggest that art and environmental location influence teachers communicate Grads 4 architectural design. their needs for art books, magazines, (two 60-minute art periods) pictures, etc. to Objective school librarians. Introduction Students will: The purpose of this lesson is to help Comprehend the relationship of a students understand that a dwelling dwelling, first, to the needs of its reflects the physical and psychologicalinhabitants (AE) and, second, to the needs of its inhabitants. Further, they conditions of its environment. (AE) will become aware that geography

Preparation Gather a variety of pictures of dwellings from travel magazines, National Geographic, children's picture books, and pictures of animal- and insect- constructed dwellings. Find children's fairy tales that focus on dwellings, such as "There was an old woman who lived in a shoe...." Collect magazine pictures of landscapes and different physical environments for the children to use as imaginary sites for their paper architectural models. If possible, display a map that shows geographical regions, such as mountains, deserts, rain forests, and farm land; display a world map.

Note: Children could select their own landscape photos if specifically directed, after discussion and with a checklist.

Resources Visuals of imaginary and actual dwellings, such as the shoe house from the Mother Goose' nursery rhyme, a bird's nest or animal house, and assorted dwellings from various cultures, for example, a pueblo, wigwam, yurt, igloo, romada, an African compound, American home. Materials Pencils. Preselected visual examples of a variety of environments from travel magazinesrural to urban, frigid to tropical. (Enough for each child to have one. Cut magazine pages out in advance to conserve class time.)

"Site information" sheet (see Appendix 4).

B-16

SAV.4,N, LESSON FOUR

Note: Sircoll groups (4) can work on one relationship of site characteristics to a site and one checklist. These may be building, its physical structure, and laminated to be used for each art class as psychological feeling. During or after needed. the discussion, have children help list the variety of influences on the Vocabulary choices of an architectural location environment, site dwelling, and write them on the board. Include, surroundings, location in their own words, the following Remind students of public buildings items: they have seen or learned about. As climate and geographical location you show images of dwellings, ask of dwelling what is the same and different when physical environment comparing these to public cultural influences on inhabitants architecture. personal needs and tastes of the in- Part One habitants (size of family, leisure activ- Procedure ities, pets, work requirements, etc.) 1. Inform the children that they will 2. Ask questions for discussion, be learning about a variety of moving from the fairy-tale dwelling influences on the form and to actual dwellings on various sites to appearance of people's dwellings, or lead children to understand the homes. Initiate the lesson with the relationship of people, cultures, and image of the shoe building from the locations to the forms of their fairy tale and involve the children in dwelling. It is important to develop a a discussion to develop the sequential flow of necessary

Amine Dickerson, photograph, Boy's Sleeping I louse, Niger, African, National Museum of African A. t, Smithsonian Institution, Washington, D.C.

B-17 LESSON FOUR

information via an inquiry method. cultural differences and develop the Ask, for example: idea that different cultures define beauty in many different ways. Why would this shoe dwelling look (Show images of dwellings from strange in our neighborhood, yet doesn't different cultures, such as Pueblo look strange in a fairy tale? (show or Bonito in Chaco Canyon, nomadic describe shoe home in rhyme, "There yurt, African dwelling, Oriental was an old woman. ...") dwelling, etc.) Although this can be Who would live in these homes? (show tied into social studies, 4. Introduce and clarify terms bird's nest, ant farm, etc.) the thrust should he the through a discussion such as the aesthetic and artistic influences on the design What is the sane /different about these following: of a dwelling. two pictures? (show human and When you look at a dwelling, can animal homes) you tell what type of environment it Recall some necessary functions of a would probably be built in? The home? (shelter, protection, warm, dry, location, or where you would build place to sleep, etc.) the dwelling, is called a site and is very important to the architect and Why don't we all live in the same type of the inhabitants. simple dwelling? Talk about location and surroundings Why do people want their dwellings to and show images of dwellings from a look nice? variety of geographical regions. 3. Does everyone have the same idea Discuss structures and how they about what we call beautiful? Discussreflect the surrounding environment

4111111111101" Eliot Elisofon, photograph, Mosque Built by Djettne Masons, Mali, Africa, National Museum of African Art, Washington, D.C.

B-18 't 2 LESSON FOUR of the dwellings. (Select a variety of Part Two environments: frigid, tropical, Procedure mountainous, rocky, sandy desert, 1. Remind students of the factors that urban, outer space, underwater.) influence the design of dwellings and What other things would you want todescribe the activity that is to come: consider when picking out a site the construction of a house to fit a (weather, available materials, selected location and to fit particular transportation, view, pleasant purposes. environment, orientation to the sun, 2. Introduce the sample two-sided We feel production is a price)? very important part of folded house activity by discussing art and want to enrich 5. Distribute to each student a simple basic forms from which many the child's experience magazine picture of a landscape (site) buildings are designed. and creativity. you have collected (these should What form is found most often in our reflect a variety of environments, homes? (rectangular solid "box form") from frigid to tropical,from rural to urban). During Part 2 (the next art What are some of the functions of a home period), students will be asked to or dwelling we discussed earlier? make model buildings. (shelter, protection, warmth, etc.) 6. The student should fill in a site (Show example of a "simple folded information sheet (suggested form in house." ) What forms would best fit the Appendix) for the assigned site and functions of a dwelling? attach this to their environment What would make it a beautiful home? picture in preparation for the produc- 913 tion activity. This exercise should 3. Show a magazine photo of a site. help to focus and clarify students' What changes would you make to this ideas. Collect the sheets and check for house form to help it belong in this completeness and understanding. environment and still be beautiful? (types of windows, porches, stilts, roof changes)

Do we all have to agree on what makes a dwelling beautiful? How would you know when a building was beautiful to you? Would it he beautiful to me too? (There are no right answers expected here except to encourage the children to be aware of their viewpoints and those of others.)

4. Tell the students that they are to play the role of architects and you

B-19 73 LESSON FOUR

(the teacher) will act as a consultant 8. Students should write a brief to help them with difficult special explanation on form and function of problems they might encounter. their dwellings. 5. Distribute magazine pictures and 9. Have students construct a site information sheets completed in backdrop and glue environment Part 1. (You might divide the picture to it. Constructions can be students into groups of 3 or 4 and stored with these backdrops if not A great deal ofencourage them to work completed in one lesson. discussion was held cooperatively, cutting paper, making 10. Constructions should be displayed over an activity for this basic forms, drawing windows and lesson before this wie together with backdrop, site doors, and constructing the model was finally selected. information sheets, and brief building.) explanations. The student "architects" will design a Evaluation dwelling to fit the site and the family Organize students in small groups described on the site information and ask them to discuss each of the sheet. The dwelling should be model buildings, asking questions interesting, beautiful, and satisfying such as the following: to the family. It should be enhanced by drawn or collaged suggestions of 1. Is the dwelling comfortable and building materials (bricks, wood, etc.)adequate for the family for which it is and constructed with thoughtful care.designed? What features make it so?

6. Demonstrate: 2. Is the dwelling beautiful? Why do you think so? a. A simple folded house (see example in Appendix). 3. Probe further with questions such as: What makes it look interesting? Is b. Surface decoration techniques to the dwelling inviting? Closed off? An simulate textures and patterns, unusual design? using a variety of materials. (What could you use to draw 4. Do the materials suggested (wood, bricks?) bricks, etc.) help the dwelling look nice on the site? c. Application of windows, doors, roof changes, room additions, 5. Is the dwelling well built? and so on. 6. Does the building match the site? d. Some ways a porch, garage, or other room might be added to a home.

7. Encourage the students to use a variety of materials and forms to create their dwelling.

B-20

:14-F'-+r,rP949MPORV.V1#--7-- '111-(IfFeW,0 I, ;;,446,e:,,,y&-1400.4 g$A. . . LESSON FOUR

The teacher will collect information Related Activities through observations, worksheets, Develop the study of the architectural viewing of students' artwork, and site into a landscape-painting unit. other methods in response to the Assist a cooperative classroom following questions: teacher to integrate the lesson into the 1. Does the students' work indicate social studies curriculum. an awareness of the physical Show examples of architecture from environment assigned? different cultures. Consider how 2. Does the dwelling design suggest beauty is defined by different cultural care arid thought by the student? values and can change with a variety of influences. 3. Does the dwelling indicate considerations for the family's needs Discuss: "Natural limitation of site as listed on the site information can often be overcome with sheet? developments of technology" (electricity, transportation, 4. Has the student attempted to use communication, construction materials to create a pleasing techniques, new materials). Stretch addition to the environment? imagination and future problem 5. Has the student employed good solving, trash disposal, land use, etc.). technical skills in the production of the building? Substitute media such as cardboard, wood, small boxes. 6. Has the student demonstrated Develop floor plans and elevations of creative thinking? a classroom.

Discuss development of dwelling-to- site in local community.

Edward Ruscha,Standard Station,Yale University Art Gallery, New Haven, Connecticut. A famousLESSON architect and his work F IV E Wright was chosen because of his stature hi the history of American architecture. If time 2. Explore Wright's style of repeating allows, expand these Grade 5 shape and form in his architecture. lessons by showing and discussing the work of(two art periods) (AC, AE, AH) other "world-class" architects, including the Introduction 3. Note integration of inside and most contemporary. Lessons 5 and 6 acquaint students outside spaces. (AE) with a famous American architect and 4. Note style of visually uniting the some of his contributions to architecture and interior design. These lessonsbuilding with the site. (AE) can stand alone or they can be inte- Vocabulary grated with the study of American Present as vocabulary words selected history, typically a fifth-grade subject.terms used in the video. Objectives Procedure Students will: 1. Discuss site problems that could be 1. Be introduced to the work of very challenging to the architect architect Frank Lloyd Wright. (location, earthquakes, size

Preparation To become familiar with the architect, the teacher should read the background information on Frank Lloyd Wright provided in this lesson and any additional materials available from the library and other sources.

Resources Photographs of Wright's Kaufman House, Fallingwater.

We suggest that Video Frank Lloyd Wright, Universal Color Slide Co. (if video is unavailable, teachers show brief show as many slides or photos of Wright's buildings as possible). selected segments of this or other lengthy videos. Books and other materials about Wright's life and work (see pages B-30-32).

Materials VHS and TV monitor (75-minute video). Preview the video and choose what segment will be shown. You might select a 10- to 15-minute segment of the video that focuses on the Fallingwater house or another topic you wish to emphasize.

B-22 71; LESSON FIVE limitations, etc.). Suggest a site with a Note: Consider distributing photocopies rugged hillside with trees and a fast- of Fallingwater for students to color in moving stream and discuss problems various hues to discover what happens involved with designing a building. when a major work of art is changed. 2. Show the photograph of 4. Continue to provide information, Fallingwater and tell the children that such as: this house is so special it has a name: Frank Lloyd Wright wanted people in It is called Fallingwater and was this vacation home to use the inside designed by an architect named Frank and outside space. He even left areas Lloyd Wright. Why was it called for trees to grow through the house. Fallingwater? Tell the children that Even the sound of the waterfall is Frank Lloyd Wright liked to repeat important to his destn. Can you see the same shape or form over and over. any other part of this home that Tell how he used the site, a potential might remind you of where it was problem to some, and how he met thebuilt? This architect believed a house challenge. Define organic architectureshould belong to the site it was built and Wright's development of it. List on, using spaces and materials that some important things one should helped it to blend in. He called this think about as an organic architect. style organic architecture. 3. Refer to the site information sheet Lead a discussion, with questions used in Lesson 4. such as:

sk questions such as: Do you think Frank Lloyd Wright was successful in making Fallingwater fit What are the problems with this site? into its environment? Why? Who would live in this unusual house? Why would we call Fallingwater an What kind of feeling would you have example of organic architecture? inside this house? What changes would you make for a What forms did Wright use and repeat? site in the desert? How about in a very cold climate? A city? What kind of textures, lines, colors, and patterns did the architect include to help 5. Show all or part of the video about the house blend into the site Frank Lloyd Wright or show a variety environment? of slides and photos of Frank Lloyd Wright's work. What materials help it blend into the environment? 6. Present this aesthetics problem to students for discussion: Ask more questions of this type to move the children sequentially Suppose your family had to move through a discussion of Fallingwater and your parents bought a Frank and Wright's definite style. Lloyd Wright home like Fallingwater. LESSON FIVE

It was very special and cost a lot of Evaluation money. Your mom had always Design a worksheet for students wanted a yellow house with sunny relating to the issues you have yellow rooms and decided to have theemphasized, asking questions about new house painted before your familyFrank Lloyd Wright, his organic moved in. Your dad said it didn't style, and personal facts. matter to him and yellow was a nice Use classroom observation to evalu- color, and so they called the painters. Without being too ate if students are gaining under- direct, we wanted Have students discuss: standing about architecture and the students to begin to works and life of Wright and other notice more of their own How would they feel about painting the architects that you have discussed. enviromnents. house? (Give reasons) Related Activities Flow might Frank Lloyd Wright feel Offer a variety of construction about it? materials and boxes and give What reasons would you give to your students an opportunity to develop parents for or against painting the house? model buildings based on architectural ideas and principles What about other people's rights or such as those developed and applied feelings as they view this home being by Wright. painted? Ask students to explore the process How far should people go to make their of architectural design from the feelings known? client/architect direction. Discuss the What if someone who owned a Wright question of who has final say in home decided to replace the roof with a designartist or patron? different style and put aluminum siding Have students draw a floor plan of on the house? an imagined dwelling and discuss Guide the discussion along the line ofinterior space, scale, and flow of the rights of artists, the integrity of movement (extension of activity in the work of art, and society's Lesson 3). pressures. Also, what is the purpose Provide reading materials on Frank of architecture: Is architecture art, and Lloyd Wright at grade reading level. who has the right to change a work of Consider language arts curriculum art? goals and integrate the study of These issues have no single correct architecture into the general answer. They should be offered in classroom with the cooperation of order for students to become aware ofclassroom teachers. real aesthetics issues. Introduce the ideas of proportion and scale to drawing of dwelling. Let interested students try to do a simple scale drawing.

B-24 78 LESSON A home is more than a house 6

Objective Grads 5 Students will: (two periods) 1. Connect architectural design to Introduction another applied art form (e.g., Having learned something about Fallingwater's geometric structure and architectural design, students will interior furniture, reflecting geometric now have an opportunity to apply forms). (AC) their understanding of Wright's 2. Design functional objects related to extended accomplishments to func- an architectural style. (AP) tional objects of their own design.

Resources Make available books and pictures of Wright's furniture and interiordesigns. Provide books that introduce commercial and fine design of utilitarian objects found in home interiors, such as furniture, drapery, pottery, dishes, and eating utensils. You might wish to show examples from a variety of cultures, as well as contemporary examples, using the most modern materials and processes. Slides such as: Stained Glass Window, Triptych, Frank Lloyd Wright. Interior, Francis Little House, Frank Lloyd Wright, install? don in the Metro- politan Museum of Art. Side Chair and Triangular Tables, Frank Lloyd Wright. Dining Chair, Frank Lloyd Wright. Photographs of the David Wright home in Phoenix, Arizona, and dishes designed for that home by Frank Lloyd Wright (available from the public library). Materials Make or collect objects for press-stamp printing in the second part of this lesson (or substitute another medium, such as felt pens for drawing). Paint or ink, 12 x 18 in. construction paper, paper napkins, paper plates, plastic utensils. Tag board for drawing utensils optional.

B-25 79 LESSON SIX

Procedure Does this chair look comfortable? Why 1. Show images of the David Wright Or why not? home, its interior and dishes, and Does it look as though it could be a note similarities in design. sculpture? 2. Involve the students in exploring What kind of shapes and forms do you Frank Lloyd Wright's style of see repeated in this home designed by designing both the exterior and Wright? interior of his buildings, including many of the functional objects found Do you see some of the same shapes in that interior space (e.g., windows, repeated in these dishes? curtains, lights, vases, dishes, Think of the dwellings we did earlier in napkins, musical instruments, and this unit. What shape did you repeat in even some of the clothes inhabitants your architecture? should wear). Mention that he would even make inspection visits to be sure Could you repeat those shapes to make nothing was changed. Tell the a pattern that you find interesting? students that Wright was sometimes Production Activity more concerned with how an object Stress Wright's repetition of shapes looked in his building than with the relating to a dwelling's exterior, comfort of the people or the function interior, and the design of functional of that object. items. Have the children use this 3. Ask questions such as these while concept in creating one place setting looking at an image of a functional of dishes as well as a placemat, piece of Wright's furniture: napkin, and silverware that reflect the

Frank Lloyd Wright,Side Chair and Triansular Tables,The Metropolitan Museum of Art, New York.

B-26 LESSON SIX

design of the rooms or house they design or fabric and fiber arts. Choose an designed in the previous lessons. activity that fits your emphasis, local resources, and available time. Have the students make press prints with cut potatoes or eraser shapes Evaluation that refle,-t their building's style. Display applied design with dwelling Paper plates as well as placemats can design and note how well they are be designed with press prints or related to one another. .. colored markers, reflecting the design Have class or small-group This discussion and style. Draw on tag board and cut out viewing of Wright's discussions of dwelling designs and eating utensils for the place setting, work might take most or the place settings designed by the all of a class period. or use plastic utensils. Or, make the children. Does the place setting plates with clay, apply design, and reflect a design motif present in the fire for a more enduring product. architecture? Note: The students may choose any Does production reflect a develop- special piece of architecture to design a ment of skill with media and place setting reflecting its character, technique? design, or purpose. A variety of applied art production activities could be Has the student used materials in an By fifth grade, students substituted, for example, furniture aesthetically pleasing way? could easily choose from a selection of materials to achieve the end result.

Frank Lloyd Wright, Francis W. Little House, The Metropolitan Museum of Art, New York.

i1 `Del P-sU B-27

'1' .7 VriFA 79- cx LESSON SIX

Related Activities UNIT EVALUATION Additional examples of historical and Through observations, checklists, contemporary artists in the applied interviews, use of oral quizzes, and arts, such as Jackie Rice (ceramicist) assessment of individual works, or Wendell Castle (furniture maker), would be very helpful. These artists determine that students: were not constrained to use a 1. Have developed spatial concepts particular !- 'tape dictated by the the through this study of architecture. architectural design. 2. Have learned that architecture is an Have students build a house structureart mode that deals with form and as a group, with large boxes, space. developing appropriate interior design. 3. Understand that architecture is influenced by geographical location, Discuss cultural differences in climate, culture, and individual tastes. functions of objects, such as dishes, beds, cooking utensils, and windows.4. Have developed a vocabulary of terms relating to architecture. Integrate lesson, with the help of a cooperative classroom teacher, into 5. Comprehend that architecture is the social studies or geogi aphy much more than shelter and reflects curriculum. aesthetic considerations.

Design a sculpture (for interior or 6. Recognize that architecture exterior) that would reflect and influences the design of functional complement the design of a dwelling. objects.

Using pictures, models, and 7. Recognize the contributions of descriptive writing, introduce architect Frank Lloyd Wright and elemental architectural construction other architects studied during this forms, such as post and lintel, roman unit. arch, cantilever, and geodesic dome. 8. Have exhibited creative thought in development of a unique product. S.

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It e c , -4^ I; + Jr .st,t I V,F'1. .i:=11. r ....- UNIT GLOSSARY spacevolume, space occupied; amount of space (possessing height, width, and applied artspractical designs: depth). functional art. verticalstraight up and down. architecta person skilled in the art of widththe distance across; how wide a building. thing is. architecturethe art of designing and building structures. RESOURCES FOR blueprinta photographic reproduction ILLUSTRATING LESSONS of an architect's detailed plans. David Wright House, 1952, Phoenix, AZ cubea solid body having six equal House Picture square sides. 1. dishes 2. interior space cylindera long round body, either 3. carpeting hollow or solid. in "Visions," Art & Man Magazine, 11, no. dwellinga building or construction 6 (April/May 1981). used for residence. "Kaufman House, Fallingwater, Frank elevationthe vertical plane of a room orLloyd Wright," School Arts Magazine building. (March 1987). environmentsurrounding, something Blackfoot Indian Tipi of Great Plains (fig. 5), in J. NI. Fitch, American Building: The that environs. Historical Forces that Shaped It (Boston: floor plana layout, or map, of the Houghton Mifflin, 1966). horizontal area of a room or building. Beta-Ta-Kin Ruin, Navajo National heighthow tall or high anything is. Monument, photograph by Laura Gilpin, in A. Berlant and M. H. Kahlenberg, Walk horizontalparallel to the horizon. in Beauty: The Navajo and their Blankets interior spacevolume within a (Boston: New York Graphic Society, boundary. 1977), p. 23. landmarksany noticeable object on Old Village of Songo, Babban trees, houses, land that serves as a guide: for example, aand granaries in villages of Sanga, photograph by Richard di Liberto, in J. distinctive building. Daude, African Art of the Dogon: The Myths lengththe longest dimension of an of the Cliff Dwellers (New York: Brooklyn object. Museum/Viking Press, 1973). exterior spaceoutside space, space World Architecture: An Illustrated History: surrounding an object or building. Intro. H. R. Hitchcock, P. Hamlyn, (London, 1963), p. 80. organic architecturea building both at fig. 216, Arctic Region, Typical Igloo one with and inspired by naturalform. Structure, p. 80. pyramida solid having triangular sides fig. 219, Jesselton, North Borneo, Sea Dwellers Home, p. 80. meeting in a point. fig 221, The fens, Cambridgeshire, Gypsy retangular prismthree-dimensional Encampment, p. 80. rectangle. Additional pictures such as: siteposition, lay, place; akin to the local G. Catlin, Interior of Winter Hut ofMandl111 position of building, town, monument, or Chief. similar work, either constructed or to he constructed, expecially in connection W. Homer, The Country School, The Saint with its surroundings. Louis Art Museum.

B-30 P. de Hooch, Mother Nursing Her Child, SLIDES FROM THE NATIONAL Detroit Institute of Arts. GALLERY, WASHINGTON, D.C. Bellotto, B., View of Munich. F. L. Wright, Stained Glass Window, Brown, W.H., Bareback Rider. Museum of Fine Arts, Boston. Canaletto, The Square of Saint Mary. F. L. Wright, Chair, The Saint Louis Art Chase, W.M., A Friendly Call. Museum. Daubigny, C., The Farm. Delacroix, E., Columbus and his son at SPECTRA SLIDES AND POSTERS La Rabida. Glackins, W., Family Group. Interiors Pannini, G., Interior of the Pantheon. Bearden, R., Pittsburgh Memories. Tarbell, E., Mother and Mary. Bellows, G., Both Members of this Club. Tissot, J., Hide and Seek. Mount, S., The Long Story. Unknown American, Matantago Farm. Picasso, P., The Three Musicians. Unknown, American, The Sargent Family. Shahn, B., Mine Disaster. Utrillo, M., Church of St. Severn'. Toyohior, U., The 4 Accomplishments, No. 2. 15 Various Architectural Views Trumbull, J., Declaration of Independence. National Gallery Buildings Velasquez, P., The Maids of Honor. Wyeth, A., Alvaro and Christina. Video: Frank Lloyd Wright, The Architecture of Frank Lloyd Wright. Exteriors WR101, Universal Color Slide Co. Evergood, P., Sunny Side of the Street. (video)-75 min. Homer, W., House by the Railroad. Sloan, J., City From Greenwich Village. Steffen, G., Photo of New York City. Steichen, E., The Flatiron Building Utrillo, M., St. Romain Quartier. Wright, F. L., Falling Water. UNIVERSAL SLIDES Brueghel, P., Tower of Babel. Chagall, M., Birthday. Daumier, H., Third Class Carriage. Degas, E., Rehearsal of the Ballet on Stage. Moses, G., Quilting Bee. Matisse, H., Interior at Collioure. O'Keeffe, G., Radiator Bldg. NY. O'Keeffe, G., Ranchos Church. van Gogh, V., The Night Cafe. Vermeer, J., The Letter. Wright, F. L., Architecture Set, 1.

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13-31 BIBLIOGRAPHY Mansell, G., Anatomy of Architecture (New York: A. & W. Publishers, 1979). Alexander, K., Learning to Lock and Create: The SPECTRA Program. Grades K-6 (Palo "The Master Builders," Art & Man, 7, no. Alto, CA: Dale Seymour Publications, 1 (October 1976), pp. 2-19. 1988). Mayer, R., A Dictionary of Art Terms and Alexander, K., Take 5 Art Prints. Teacher's Techniques (New York: Barnes & Noble Guide (Aspen, CO: Crystal Productions, Books, 1981). 1988). Michigan Essential Goals and Objectives for American Institute of Architects, The Arts Education (K-12) (Lansing: Michigan State Board of Education, 1989). .Search for Excellence in Architecture-in- Schools (Washington, D. C.: American Mittler, G., Art in Focus (Chatsworth, CA: Institute of Architects, 1988). Glencoe, 1986). Andrews, J. J. C., The Well-Built Elephant Reid, R., The Book of Buildings (Chicago: (New York: Congdon & Weed, 1984). Rand McNally & Co., 1980). Battin, M. et al., Puzzles About Art (New Richter, J. P., The Notebooks of Leonardo da York: St. Martin's Press, 1989). VinciVol. II (New York: Dover Beny, R., The Romance of Architecture Publications, Inc., 1970). (New York: Harry N. Abrams, 1985). Riley, N., World Furniture (New York: Berlant, A. and M. H. Kahlenberg, Walk in Mayflower Books, Inc., 1980). Beauty: The Navajo and their Blankets. Saacson, P., Round Buildings, Square (Boston: New York Graphic Society, Buildings, Buildings that Wiggle Like a Fisk 1977). (New York: Alfred A. Knopf, 1988). Bray, W. M. et al., The New World (New Scully, V., Pueblo: Mountain, Village. Dance York: Phaidon, 1975). (New York: The Viking Press, 1975). Ceserahi, G. and P. Ventura, Grand Smith, G.E.K., A Pictorial History of Constructions (New York: G. P. Putnam's, Architecture in America (New York: 1983). American Heritage, Bonanza Books, Elspass, M. L., North Light Dictionary of 1981). Art Terms (Cincinnati: North Light Tafel, E., Apprentice to GeniusYears with Publishers, 1985). Frank Lloyd Wright (New York: McGraw- "Frank Lloyd Wright, Working with Hill Book Company, 1979). Form," Art & Man, 11, no. 6 (April/May Von, E. W., A Place to Live: The Crisis of the 1989), pp. 2-23. Cities (New York: Delacorte Press, 1967). Long, R., "Walking into History," Flash Art (Summer 1989), p. 114. Macaulay, D., City (New York: Houghton Mifflin, 1974). Macaulay, D., Pyramid (New York: Houghton Mifflin, 1975). Macaulay, D., Castle (New York: Houghton Mifflin, 1977). Macaulay, D., Cathedral (NeNN, York: Houghton Mifflin, 1981).

B-32 APPENDIX Lesson 2

Flap

To make a cube, all sides are even.

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To make a box:

Same length Same length

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Flap

To make a cylinder, make the length about three times as long as you want it wide.

8'1 To make a cylinder, make the length about Make sure all sides are the same length. three times as long as you want it wide. Make all baselines the same.

To make a four-sided pyramid: Make sure all sides are the same length. Make all baselines the same.

To make a cone This will make a tall cone . this will make a squat cone.

B-34 To make a dome, cut strips and overlap them on a cylinder.

To attach a roof, use tabs. Cut tabs of paper, bend and paste to the side of building then apply more paste to top of tabs and put roof on.

13-35

-r441 4 ft, AL APPENDIX Lesson 4

SITE INFORMATION NAME TEACHER Check terms that apply to your picture of a site: Frigid, very cold temperatures Medium temperatures Hot temperatures Dry, little rainfall Average rainfall Sandy soil Rocky soil Average soil Windy In the suburbs In the city In the mountains Hilly ground By quiet water By moving water Few trees and grass In a forest In a desert Very flat land Medium amount of sun Lots of sun Little bit of sun Not close to transportation Close to transportation Crowded area ( lots of people) Open area, lots of space Beautiful view No beautiful view Check the type of family you think would build a house here. Small family will live here. Average family will live here. Large family will live here. Active family will live here. Quiet family will live here. Nature-loving family will live here. The family who will live here needs space for hobbies.

B-36

41k-50: -Rr's APPENDIX Lesson 5

Teacher information on Frank Lloyd Wright disliked cities and the money- Wright: centered urban society. He called it "mobocracy" instead of democracy and "Architecture is the language of the believed the cities should be torn down human heart. I want space to come alive."and developed along his designs for Frank Lloyd Wright was a man who saw community living. He called his city plan beauty in nature. He loved the open flat "Broadacre," but it wasn't until the 1970s spaces of the West and was intrigued by that this decentralized idea of self- the forms of growing things. His mystic sufficiency became accepted as an ideas of human beings' relationship with alternative to dense city living. nature was evident in his architectural style. After World War II, Wright's architectural designs were strongly Wright's first love was architecture, and influenced by organic forms such as he was encouraged by his mother. Even shells, cobwebs, and honeycombs. His before his birth, she hung engravings of city structures reflected vertical organic the great cathedrals in her room, hoping shapes such as the tree. His best-known to influence her unborn child. Some city structure of this time is the believe the "Froebel Blocks" she placed inGuggenheim Museum in New York, his nursery for him to play with inspired which reflects a spiral shell form. Its the geometric building of his architecturalwalls shut out the surrounding city that career. He studied engineering at the Wright rejected, and lights the interior University of Wisconsin, since there was from above. The best-known house that no architecture course, but he left in 1887 exemplifies Wright's organic architecture to work in an architect's office. During is the Kaufman House, known as this time, he was influenced by Louis Fallingwater, built in 1936 in Mill Run, Sullivan's principle "form follows Pennsylvania. The house seems to be part function," but later adapted it for a more of the rocky ledges of the mountain, and aesthetic appeal. a stream and its sounds run right through In 1892 he opened his own office, and, the house. The house is made from the until 1910, he developed architectural rocks found at the site and all the innovations that had worldwide furniture is built from trees cut on the importance. These "Prairie Style" houses property. The strong horizontal shapes, accented the strong horizontal lines that natural colors, and textures of the he has been noted for and also the central materials help it to become part of its axis to a home, facilitating easy move- environment in every way. ment through the house. Rooms extendedAmong the many innovations he out onto terraces that tied together developed are the cantilever, central interior and exterior spaces and allowed heating, air conditioning, double glazing, the inhabitants a closer interaction with open-planned kitchens, under-floor nature. His work lost favor with the hard-heating, and carports. line modernists of the period until the 1930s, because of his reluctance to use technology. His intense critical appraisal of modernist architecture developed into his sensitivity to building and setting. The relationship with interior and exterior space, the character of those spaces, and their psychological effect were intrinsic to his houses. He concentrated on volumes and spaces and the use of natural materials and forms to enhance the emotional power of his designs. 91

B-37

. "rf"..1111 Biographical Notes Paula Miriani has taught art since 1966 at all levels of publicschool, inner city to affluent suburban, gifted to emotionally impaired,adult education groups and classroom teachers. Recently, she was awarded commendation as an "outstanding teacher" in Wayne County, Michigan, and her schoolhas been named a National Exemplary Elementary School by theU.S. Department of Education. Paula is currently an elementary art specialist and artcoordinator for the Grosse Point Public Schools. Her special field of study iswatercolor. Patricia L. Johnson is the elementary art specialist and art coordinator,K-12, for the Menominee Area Public Schools and a registered MichiganArtist-in- Public-Places, specializing in steel outdoor sculptures. Pat has taught fornine years, ages 4 through senior citizens, at atri-city art gallery/studio facility and eight years in the public schools. She chaired the committee that wrotethe DBAE curriculum, K-12, for her school district.

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L Paula Miriani and Patricia Johnson

B-38 Acknowledgments The authors and publisher would like to thank the following museums, collections, and private individuals by whose permission the illustrations are reproduced. The page number on which the artwork appears is in parentheses at the end of each entry. Winslow Homer, The Country School, The Saint Louis Art Museum, Museum purchase (p. B-5). Jan van Eyck, Saint Jerome in His Study, © The Detroit Institute of Arts, City of Detroit Purchase (p. B-7). Kay Alexander, Lighthouse, Coast of Maine, courtesy of Kay Alexander (p. B-9). Kay Alexander, New England Church, courtesy of Kay Alexander (p. B-10). Kay Alexander, East Building, National Gallery of Art, courtesy of Kay Alexander (p. B-11). Kay Alexander, White House Ruins, Interior, courtesy of Kay Alexander (p. B-15). Amina Dickerson, Boy's Sleeping House, National Museum of African Art, Eliot Elisofon Archives, Smithsonian Institution (p. B-17). Eliot Elisofon, Mosque Built by Djenne Masons, National Museum of African Art, Eliot Elisofon Archives, Smithsonian Institution (p. B-18). Edward Ruscha, Standard Station, Yale University Art Gallery, A. Conger Goodyear, B.A. 1899, Fund (p. B-21). Frank Lloyd Wright, Side Chair and Triangular Tables, copyright © 1989, The Metropoli- tan Museum of Art (p. B-26). Frank Lloyd Wright, Francis W. Little House, copyright1989, The Metropolitan Museum of Art (p. B-27). Frank Lloyd Wright, Stained Glass Window, Triptych, copyright ©1989, The Metropoli- tan Museum of Art, from the Avery Coonlev Playhouse, Riverside, Illinois (p. B-29). SPACES AND PLACES An Introduction to Architecture

UNIT EVALUATION The Getty Center for Education in the Arts is interested in your opinions about this unit, your experiences teaching it, and/or its usefulness to you in creating your own DBAE curriculum. Please fill out this questionnaire and return it to the Getty Center at the address below.

Did the introduction toDiscipline-Based Art Education: A Curriculum Sampler provide a context for your understanding of this unit?

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rrsi.,,rep-MtirM1,16.4 Many Ways of Seeing is a unit written for middle school or junior high school students. It investigates themes and issues in art such as the concept of originality, interpretation of visual language, symbolism, and examination of the categories of fine art and folk art. Through this unit students will learn to substantiate with good reason their personal judgments about art of the past and present, including their own art. The theme of originality in art is studied in some depth in this unit as students learn in sequence about fakes and forgeries, artistic influences, and the concept of homage, or reference by an artist to other artists' works. Students will study symbols from nature in African masks, narrative use of symbols ina Laotian story cloth, and the use of symbols in paintings by artists such as Jan van Eyck and Edward Hicks. Students use contemporary and personal symbols in theirown artwork.

to Patti Getty Trti,t C-1 All rights reserved MANY WAYS OF SEEING INTRODUCTION In this unit STUDENTS WILL LEARN TO SUBSTANTIATE WITH GOODREASON THEIR PERSONAL JUDGMENTS ABOUT ART OF THE PAST AND PRESENT, INCLUDING THEIR OWN ART. These six lessons focus on issues oforiginality and authenticity in art, interpretation of visual language andsymbolism, and the categories of "fine" art and "folk" art. The unit is designed to fit within the curriculum of a middle-level/juniorhigh general or foundation course in art, or it can he incorporated into a studio elective course such as painting and drawing, graphic design, etc.. Since the acquired knowledge and processing skills can be applied to subsequent units and lessons, we suggest that this unit be introduced in the initial stagesof the course of study, but after students have had a reviewof the basic skills and concepts learned at the elementary level. This unit is specifically designed to be used with grade 8, but could easily be adjusted for use with grades 6 to 9. The unit will take approximately six weeks to complete if the class meets every day for a 45-minute period.Teachers should realize that they can adapt these lessons to the needs of their own teaching schedules by editing or extending.

Jan van Eyck, Giovanni Arnolfini and His Bride (detail), National Gallery of Art, London, England 90

C-3 AND FORGERIES

Lesson 1 2. Learn a little about the extent and Fakes and Forgeries (1 period) nature of art forgery (art history) This lesson aims at helping students and about particular artists. understand the value of original art 3. Discuss the concept and value of made by the hand of the artist. They original art (aesthetics). should also recognize the need to look at art (including their own) closely 4. Apply principles in preparation and critically. Distinguishingforg- for making art in Lesson 2. ery from genuine art involve', know- Preparation ing art history, being able to re- Tell students that they are going to member visual details, and learning become detectives for a day. They how to analyze art. Young students might be asked how they would feel are certainly capable of all three on an if they went into an art museum and introductory level. The issue of au- saw there the best picture they had thenticity and originality and fakes ever madewith somebody else's and forgeries also raises important name on it! Or an exact copy of it that questions about aesthetics and ethics they never madewith their name on that students should become aware of. it. That has happened to many fa- Objectives mous artists, and sometimes they are The students will: no longer alive to be able to tell anybody about it. But Albrecht Direr, 1. Contrast an original work with an the famous German artist who unauthorized copy and a- authentic worked in the early 1500s, did know work with a fake to that people were copying his work a. develop skills of close observa- and passing it off as original Darers. tion and He tried to stop the forgers, but couldn't manage it. Ask students b. understand that art historians what they might do in a similar rely heavily upon "close looking" situation? Would they get upset if and formal analysis (criticism), as someone tried to forge their art? Why well as their knowledge of art or why not? Would it make any history, to detect fakes. 111=1111NIMMIll13" C-4 5 7 LESSON ONE put his or her own name on it instead Note: Authentic:ay is not an absolute but of theirs? What if the forger gave themis rather a matter of decree Judgments all the money received for it? What if depend not only on contemporary defini- the forger's work were much worse tions but also upon what was the accept- or, on the other hand, actually better able practice of time, place, and culture. than theirs? If they did want to stop Many artists authorized copies made after the forgeries, what would they do? their originals; Diirer did not, and thus an unauthorized copy of a Diirer woodcut Teachers will cover Materials the credit lines for the Illustrations of copied, forged, and faked works have been published (see comparison activity. bibliography), but they may not always be easy to corr e by or be satisfactory for teach-ing purposes. You could photocopy the Diirer/Raimondi illustrations in this lesson and give copies to each student. At least one pair of worksone real, one forgedis essential to this lesson. The two Go li masks in this lesson could serve by themselves to illustrate the issue of fakes. A nearby art museum might be able to supply more images or suggest sources. A range of other slides or reproductions are also needed for this lesson, and most teachers already have these.

Marcantonio Raimondi, Italian, MectinN of Joachim ant, Anna Albrecht INirer, (Ierman, Joachim and Alma at the Goblet? al the Golden Gate, Sterling and Francine Clark Art Institute, (-ile, Sterling and Francine Clark Art Institute, William- Williamstown, Massachusetts. stown, May,achtisetts.

C-5 LESSON ONE can be considered a forgery Some art peared in answer to Joachim's prayers historians contend, however, that and said that Anna would soon be Raimondi's copper engraving copy off pregnant. This scene shows Joachim's Diirer's woodcut is also an original, return to his city, where Anna was authentic 16th-century work at the same waiting at the so-called Golden Gate. time that it is a forgery. This is a complex He has probably just told her his issue; consider the comprehension level ofnews of the divine blessing. The your students as you clarify these subtle Virgin Mary was the child that Anna distinctions. eventually bore. Vocabulary Now have students note on paper all Forgery, fake, authenticity, woodcut, the differences that they can see. They monogram, watermark, original should surely notice that one of the (noun), art historian, genuine, repro- prints doer not have floral decoration duction, Goli, Baule and human figures (representing prophets) on the enframing arch. The Instruction print with plain stonework also omits I. Show students reproductions of a the birds in the distance, details of pair of works, one original, one brickwork in the doorway at the forged, such as the Darer and extreme left, and the shadow at the Raimondi prints of a woodcut from lower right-hand corner where the Di rer's The Life of the Virgin series. arch meets the front ledge. And it Use the artists' names, but do not say does not include a date. Urge stu- which print is which. Tell the students to study all corresponding details dents that they will eventually try to in both prints, such as expressions on decide. They should be reminded that faces and the way lines are used to the fake has fooled many people, shape faces and garments and to including art experts, so they should depict brickwork, roofs, etc. If the not feel bad if they choose the wrong photocopy is sharp, students should one. Besides, they are themselves also see differences in depth (and, looking at reproductions of both prints. thus, darkness) of line. Tonal relation- (Under what circumstances could one ships in the two prints are certainly call both these reproductions "fakes"? different, and you might help stu- Answer: If someone tried to pass dents to see that the evenness of them off as originals by either artist.) outline in one (the copy) tends to 2. Explain that the scene they are flatten space a little. looking at is the meeting of Joachim The differences students have noted and Anna at the Golden Gate, a story (perhaps with your help) should be told in the apocryphal books of the listed on the blackboard for everyone Bible. Joachim, an elderly shepherd, to see, and students should be en- had gone into the desert, in despair couraged to discuss them. The lessen that he and his wife Anna were here is mainly a lesson in looking. childless. There an angel had ap- Students should understand that if

C-6

, LESSON ONE they were art historians with exper- that a copy may not but forgery tise in Durer's style, they would have always involves an intent to deceive a much better chance of guessing by representing a work as something which is his original. Now, nonethe- it is not. Often true forgeries and less, it is time they should try to say fakes are done long after or in a which is the Durer, which the different place from the original or Raimondi. authentic work that they purport to be. Ask why art forgery exists. Men- 3. Durer signed his work with a tion that it is often very difficult to monogram (see illustration and copy detect. Point out that it has only been it on the blackboard). Students will in this century that photographs have see it in both these prints. Yet one been an aid to detection of fakes. print is not genuine. Durer's woodcut Before that, the only way someone was made in 1504 (though the date Diirer's monogram could make a close study of two may look like 1509 to your students). works, one of which was perhaps a Diirer was in Venice from 1506 to forgery, was to be able to see them 1507 and made a formal complaint to side by side. Even though Raimondi's the Venetian Signoria about the copies after Diirer look different from unauthorized use of his monogram. Diirer originals (and his version of Raimondi was told to stop using it. Joachim and Anna at the Golden Gate 4. Explain that copying and forgery takes the most liberties with the are old and frequent phenomena and original of any that he did), it would

Teachers will cover the credit lines for the comparison activity with the two masks.

Go Ii Mask, African, Bau le, The Metropolitan Museum of Art, New York.

Goli Mask (doubtful authenticity), African, The Metropolitan Museum of Art, New York.

C-7 (JO LESSON ONE not have been easy, given the absence1485before 1534) was not only an of photography and the difficulty of accomplished engraver but was also a travel, for people of the early six- successful forger (some claim he was teenth century to see Darer and the first really famous forger in Raimondi prints together. Europe). Remind them that art historians use close observation, compari- Note: Borrow magnifying glasses from son-contrast, interpretation, and the science department. Students will be critical analysis (as well as research better able to see subtle differences not and technology) in order to decide only between the two prints, but they will what is genuine. feel more like detectives. Tell them that fine art print experts regularly use 7. Students might like to know that, magnifying glasses to study printsif forfor his prints, Darer used paper with no other reason than to marvel at the specific watermarks that are known. great skill (technique) involved in Creat- (Show them paper that has a water- ing them. mark.) That makes it easier for art historians to detect forgeries of his 5. Show a range of slides or reproduc- works. Nonetheless, when Darer died tions. Ask students to say which work in 1528, there were more forged a prospective forger would find Darer prints in existence than genu- hardest to fake? Easiest? Most worth ine ones. There were also plenty of the effort? Least worth it? Why? forgeries of his paintings, and forging (Keep assuring students that there are of his work continued at a great rate no certain answers, but, rather, sound through succeeding centuries. opinions that can be supported.) If reproductions are used and placed Extension: Raimondi not only around the room, students could be imitated Dilrer's style but used given sets of cards with questions like copperplate engraving and made it those above on them (one to a card), look like Diirer's woodcut medium. and they could then get out of their This was a very difficult challenge. seats, move around to see each repro- Students could be taught why. duction, and place underneath the card they think most appropriate. A 8. Initiate a brief discussion on follow-up discussion would be aimedwhether a copy or a forgery can be at eliciting their reasons for choosing art. Raise a few other aesthetics certain works questions. What if there were a way 6. Refer again to the Direr and to make a perfect duplicate (accurate Raimondi prints (use the artists down to every molecule) of the Diirer names) to demonstrate that forgers or of any masterpiece? Would the nee -1 great skill to produce a completeduplicate be legs good or valuable forgery (as opposed to faking a than the original? Why or why not? signature on an existing work). The genuine Diirer students looked at Students should easily understand is a print, meant to be printed in why Marcantonio Raimondi (circa multiples. How can prints be origi- C-8 101

7.LVT7*-ZIW," LESSON ONE nal? What do we mean when we talk rounded, with incised markings, if ! about "original prints"? there are any, always perpendicular to the length of the horn; eyes with Explore some aesthetic questions in a triangles (or ovals) surrounding them; class discussion. If Raimondi had left lack of a nose; and the mouth a good- off Darer's monogram, the print sized rectangle made to look as would be a copy. Would it still be a though the "face" is grimacing. Then forgery? Raimondi often made prints ask them to choose wnich mask is after other artists' designs, but usu- genuine and which is the fake. Po'.nt We anticipated that ally it was with their permission. Are teachers will select out that both these masks are in a such prints forgeries? Can copies activities from this museum collection. That means that a lesson that will suit have as much aesthetic value (let museum person was fooled at some their requirements. alone monetary value) as the original Others might choose point. The museum did not want a design? Can copies have originality? to use all of the fake in the collection, but now that it activities or devise How important is idea to our concept has realized that one of these masks is others on their own. of originality? Copying other people's a fake, the mask is used as a tool for designs was a generally accepted teaching, just as we are using it. practice in the Renaissance, and there were no copyright laws. Is our con- 10. Homework assignment: Ask cept of originality different today? students to choose a postcard repro- Raimondi made other copies after duction they like from a group of- Darer. One of these, from the Life of fered by the teacher and write no the Virgin series, includes Raimondi's more than one page delineating four monogram along with Darer's. In or more characteristics of the work another series, Raimondi omits that they would have to capture if Darer's monogram entirely. How they were to make a successful might these differences affect our forgery of it. views of Raimondi's works? Evaluation 9. Near the end of the class, ask I. Did each student look at pairs of students to look at the two Go li slides or reproductions in class and masks that are pictured here, but do distinguish subtle differences? not tell them which is which. Instead, 2. Did each student compare and have them note all the differences contrast a forgery or fake with a they can see. Write them on the genuine work with the mind-set of an blackboard. Then tell students the art historian trying to detect the characteristics of a genuine Go li mask original? of this type--details that have been noted and are studied by museum 3. How many students participated curators of African art in order to say in the discussion of aesthetics? (Re- if a Go li mask of this type from Baule sponses could be ticked off in the is genuine: a really round shape; a grade book.) secondary outer edge, like a broad collar, all around the face; horns quite

C-9 U LESSON ONE

4. How well did students do at ascer- spirit of Raphael, who employed him as taining the real Go li mask? Were theirhis engraver. He also, however, copied reasons sound, demonstrating careful prints without the original artist's permis- observation and thought? sion. This was the case with his prints after Duren 5. How well did the students do in their written homework on the It was apparently through Raphael's characteristics they saw in a particu- acquaintance with Direr that Raimondi lar work of art? Did they identify learned of Darer's work. He greatly major characteristics? Did their work admired airer's Life of the Virgin, anci his demonstrate thought and effort? first engravings of that work appeared while Dfirer happened to be painting in Artists' Biographies Venice. Diirer protested at once to the Information for Teachers Signoria of Venice, the city-state's su- Albrecht Diirer (1471-1528) was one of preme authority. An edict was published the greatest German artists of the Renais- forbidding Raimondi from putting sance. Born in Nuremberg, he studied art Durer's monogram on his copies. Some with his father, a goldsmith, and with historians think that Raimondi did stop Michael Wohlgemut, a local painter and using Diirer's monogram then, but that printmaker. He spent a year in Italy in unethical print dealers later overprinted it 1494, where he was influenced by on some of Raimondi's and other artists' Mantegna. In Nuremberg, a year later, forgeries of Darer. Raimondi copied not he began a very successful career. Not only 17 prints of the Life of the Virgin, 16 only an artist, he was a true renaissance of which had Durer's monogram, but also man. He made scientific studies of the 37 smaller woodcuts of Darer's perspective and wrote treatises on Passion, which did not. proportion and theory. A fine painter, Information about the Goli mask referred Durer w ,;, nonetheless, most noted as a to in this lesson is at the end of Lesson 3. printmaker, producing numerous engrav-Bibliography ings and woodcuts with great skill and M. P. Battin et al., ed., Puzzles About Art: originality. After 1517, when he became a An Aesthetics Casebook (New York: St. supporter of Martin Luther, his art Martin's Press, 1989). became a personal testament to the new Protestant faith. J. Fairbanks, "The Art that Needs An- other Look," Yankee Magazine, (November Marcantonio Raimondi (Italian, circa 1989), pp. 83-97,135. 1485-before 1534) was one of the leading engravers of the Italian Renaissance. He M. Jones, ed., Fake? The Art of Deception, made much of his living making prints exh. cat. (British Museum, 1990). Berke- after other artists' designs. Generally ley: University of California Press, 199(1. these prints were made with the original Fakes and Forgeries, cxh. cat. (Minneapolis artists' consent and even under their Institute of Arts, 1973). Several articles on direction. His amazing versatility as a fake antiques in this publication. Includes draftsman enabled him to work in the a comprehensive bibliography.

o 1 0 3 Lesson 2 2. Contrast at least one work of art Imitation vs. Originality: with another that was inspired by it (1 period discussion, 4 periods but is no copy (criticism). production) 3. Determine what is original about a Day 1: Discussion well-known homage (criticism) and This lesson moves beyond the rela- learn a little about the artist and the tively simple issue of genuine art work (art history). being that which was made by the "real" artist. The close looking and 4. Draw a preliminary contour analysis that students used in the firstsketch in preparation for a completed lesson to discriminate between a drawing with subject matter and bogus and a genuine artwork are composition based on a famous work used here to continue to examine (production). whether art that closely resembles 5. Create an original drawing that is another work (but is no fake or an homage to a famous work of art Some of th.: lessons in forgery) can be originalin the sense (production). this unit require more of being personal, special, unique. than a single class Students will consider the aesthetics Preparation period. The number of class periods needed question of whether art must be Review images and concepts from the will vary according to original to be called art. They will previous lesson, reminding students length of periods, then apply what they have learned in that they had to look very closely at teacher's selection of activities, grade levels, making an homage or "spin-off" details, as well as compare and and so forth. original of their own. contrast artworks, and that they had needed additional information that Objectives was not apparent visually. Remind The students will: them, too, that they had to think 1. Broaden and deepen the concept of about the significance of what they originality (aesthetics) that was had seen and make decisions similar initiated in the first lesson (limited to those that art historians and critics there to whether "the hand of the make. (This process was more impor- artist" created a work or not). tant than any interest of theirs in the phenomenon of fakes and forgeries.)

C-11 '1 LESSON TWO

We selected the topic of "originality" because we believe it is of interest to students of this age level. The notion of copying is often viewed negatively, but the range between total originality (if there is such a thing) and copying is a wide one in which artists have traveled forRed Grooms, Lorna Doone (detail), Brooke Alexander Editions, New York. centuries. We felt that the concept deserves Note: Do not alarmed. This lesson Vocabulary attention. could be a course of study in itself if each Homage, curator, copy (noun), prove- issue raised were treated in depth. Hurry nance, study (noun), originality, through the first two instructional contour, tribute, allusion, collage, strategies outlined below and spend the gouache, impression, opaque, print rest of a 45-minute class period on the edition, lithography. (Teach the third strategy (extending, if need be, into words you plan to use in the unit.) part of a second period). Making art in Instruction connection with this lesson will probably 1. Briefly (5-10 minutes) point out take four periods. that an artist sometimes chooses to makeand does not hide the fact that Materials he or she has madean exact or close Slides or reproductions of Andrew copy, either of the artist's own or of Wyeth's Christina's World and of another artist's work. Ask students to Red Grooms's Lorna Doane (the guess the reasons. Write valid responses latter illustrated here), or of anon the blackboard. Restate the reasons to other pair of "twins"original and reinforce them. Such a copy is no homage. Use postcards or other forgery, but neither is it considered an printed reproductions of a variety original when it slavishly imitates an of artworks. Other images are earlier work. If you can, quickly show optional, as noted below. (Materi- an example or two of images of their als for art productionsee Lesson own that artists have copied: a Gilbert 2, day 2.) Stuart George Washington, for instance. Or John Singleton Copley's Watson

C-12 LESSON TWO and the Shark (four known versions). end of the lesson). You could distrib- Do show, if you show nothing else, a ute photocopies to students of the Peaceable Kingdom (pivotal to later works illustrated here: Suzuki lessons in this unit). Edward Hicks Harunobu's Gathering Lotus Flowers made more than one hundred ver- and Mary Cassatt's Feeding the Ducks. sions of this image. Break the students into small groups of four or so. Give each group one Optional aesthetics tidbits: 1) Muse- print or the other. Have them study ums want to own the first version of a the print for a few minutes and report work that an artist later copied. Can to the class on the characteristics they students think why? Should museums find in it. Compare the results. Stu- rethink this issue? What if one or more dents should see similar characteris- copies are better than the firs/ version? tics in the two works. Write responses Should that make a difference? Often it is on the board. The compositional very difficult for museum curators and devices that Cassatt saw in a Japanese art historians to prove which "copy" print like this were excitingly new by came first. The best proof in such in- Western standards. Balance is asym- stances is usually written documentation, metrical; there is a diagonal thrust; space such as a history of who has owned the is flattened; point of view is unusually work since its creation (a record known low; details are sketchy; patterning is by the French name, provenance [pro-ye- evident (in dresses, kimonos, ducks, water nahnsl). lilies); and objects in the pictures are 2) Sometimes an artist makes a very cropped. While students should recog- finished paintingoften small but nize Cassatt's debt to the Japanese sometimes notas a preliminary "study"artist, they should be guided next to for a work. Are both the study and the pay most attention to the originality "final work" original in the sense that of Cassatt's workto the ways it is they represent originality? different from the Japanese print. The same student groups could work 2. Artists often produce works that together again to reach such conclu- are inspired by their interest in sions. Cassatt's print has not only its another artist's composition, espe- own subject matter and theme, but cially when they admire the artist. the ideas, thoughts, and feelings that Tell students that they will look and it conveys are truly her own and try to decide (being detectives again) depicted in her own way. Again, whether some works are original and, reinforce points by writing them on if they are, what makes them original. the blackboard. Some of the French impressionists modified and adapted Japanese prints they collected or saw in an 1890 exhibition in Paris (see the Metropoli- tan Museum catalogue, The Great Wave, listed in tne bibliography at the

C-13 LESSON TWO

3 Homages [Oh-ma ;es]. Tributes or Or you might pair Emanuel Leutze's visual allusions to the work of another Washington Crossing the Delaware with artist. Now students are ready to Larry Rivers's version of that paint- study a pair of works that are even ing; Velazquez's Las Meninas with more closely related than were the Picasso's Las Meninas; Charles Cassatt print and the Japanese print. Demuth's I Saw the Figure 5 in Gold The teacher's challenge here is to with Robert Indiana's X-5; Edward choose a work that "quotes" or Hopper's Nighthawks with Red We selectee the Grooms follows the composition of a famous Grooms's Nighthawks Revisited; etc. homage because painting so closely that anyone Christina's World is Examine the "original" and the so widely known. ti.miliar with the older work will "homage" with the class, comparing instantly recognize it as the source of and contrasting the two works. Using the newer one. Since both the the inquiry method, initiate a class "quoted" work and the "homage" discussion aimed at getting students will probably be new to students at to recognize that, despite obvious and the middle level, they must somehow deliberate imitation, the later artist see both works together. Red made a new piece of art that ex- Grooms's Lorna Doone is illustrated pressed his or her own thoughts and here (inspired by Andrew Wyeth's is firmly rooted in the culture of the Christina's World, reproductions of artist's own time. which are easy to come by). You might give each student a photocopy of the Grooms work.

Suzuki I larunobu, Japanese, Glittering Lotus Flowers, -1.11, Art Institute of Chicago.

C-14 107 Extension: How good at drawing do students think Red Grooms is? Art historian Judith Stein: "Red's characteristic mode, with elements of cartoon- like renditions, willful distortion, and exaggerated perspectives, is the expression of a master draftsman." (Red Grooms: A Retrospective 1956-1984, exh. cat. [Philadelphia: Pennsylvania Academy of Fine Arts, 19851, p. 11.)

Extension: If the teacher has collected or can find some cartoons, greeting cards, T-shirts, or advertisements that "play with" a famous work of art, students would especially enjoy seeing them now (alongside the famous "twin" if it is not in their store of images). A motivational bulletin board displaying the "twin" images could be set up in the art room. You may want to encourage your students to look around and bring in various examples they have at home or have found.

14'

Mary Cassatt, American,Feeding the Ducks,The Metropolitan Museum of Art, New York. LESSON TWO

Extension and Alternatives: In addition toor instead of the suggested lessonteachers might deal with another, more complex issue. Many contemporary artists work in series. (Frank Stella, for instance, has completed several series, any one of which would be fruitful for students to examine.) Some series include works that are very similar. This raises questions. Are they all original art? Are some? If so, which ones? How different must similar pieces by an artist be to be called original? Look at Andy Warhol's soup can, electric chair, or Marilyn Monroe series, for instance. Show two or more such images to your students and ask them to list the differences. What are their thoughts about the originality of these works? Assure students that there are no easy and no absolute answers to this question. The issue of originality is one that aestheticians struggle with. Each of us must wrestle with it in our own way and continue to examine our thoughts about it every time we study and judge a work of art. Some critics believe that a Warhol painting of one Campbell soup can projects a feeling that is different from one that includes, say, thirty cans. Others have disagreed or are not sure.

Red Grooms: "I've always felt that Evaluation it's good to have the art context 1. Were students able to list the because it gives you something to go differences between the Cassatt and against." Harunobu prints? (From Paul Cummings, "Red Grooms2. Did many of the students partici- Interview," Archives of American Art pate in the discussion of Red I March 4, 19741, p. 110.) Grooms's homage to a Wyeth painting? (Names could be ticket: off in the grade book.) Aim to encourage others in future discussions. 3. Can students identify the original parts (ideas) of an homage and tell something about the artist?

C -16 LESSON TWO

Days 2-5: Production Images of merit I contemporary American artists, such as Romare Objectives Bearden, Faith Ringgold, Julian (see Lesson 2, day 1) Schnabel, Fritz Scholder, R. r. Gorman, Janet Fish, or Helen Materials Frankenthaler. White paper or oaktag 12 x 18" or larger. Markers, pastels, colored Artworks that exemplify cultural pencils, pencils styles, such as Japanese paintings or prints, African masks, or Native Instruction American patternE and symbols. 1. Begin with a review of the nature of Artworks that exemplify art styles, an artistic homage. Tell students that such as romanticism, baroque, they will now make one. Using a impressionism, cubism, pop art, and famous work of art as their base, they so forth. will learn more about technique and composition and, at the same time, The teacher might suggest a specific have the great fun of "doing their time period for the students to work own thing." Make it very clear that withinor a specific place. The 1800s, the challenge of making this art is to 1950s, or present day, for example. Or alter an existing image to accommo- a place with special characteristics, date their own ideas. such as Hawaii or Japan. 2. Students will now select a work of 3. The students will make a sketch of art that will become the inspiration the reprcduction they have chosen. for an original work of their own. A They should look for strong outlines postcard reproduction (or a photo- and shapes in the reproduction to start their image of the work. At first, Art teachers will need copy) should be provided for them so to draw on their they can have it handy to study, they will concentrate on major shapes resources of clippings, digest, and think about modifying it. and objects in the piece rather than on slides, posters, art the background. Background work magazines, and books to Caution: Choose any selection of works, enrich these lessons. but try to choose works of equal difficulty.and shading will come in at the last Give each student three or four prints stage of the drawing. The back- to choose from to do an homage. ground, however, will be a very important part of the whole picture, Suggested art images for homage especially if students are portraying a production activity: time period or specific place. Well-known artworks, such as Grant Wood's American Gothic, Henri 4. Students should be encouraged to Rousseau's The Sleeping Gypsy, Ed- experiment freely with the original ward Hicks's Peaceable Kingdom, imageperhaps by magnification, Georgia O'Keeffe's Red Poppies, or miniaturization, reversals, fragmenta- Winslow Homer's Breezing Up. tion, partial delineation, distortion, etc. If the students are working from a

C-17 1 LESSON TWO '' reproduction of a portrait or portraits,3. Did the student reflect in his or her they can substitute it with another work various expressive qualities, face, their own, for example, or a such as strength, humor, beauty, friend's. excitement, etc.?

5. After the major shapes are com- 4. Did the student use the medium pleted, the student can develop the creatively and imaginatively? background. Does it take place in the 5. Did the student successfully incor- student's hometown? In Hawaii? A sequel to these porate his or her own originality into lessons on forgery, New York City? Japan? What specific the work and at the same time enable copy, imitation, and objects in the background should be influence might be a viewers to recognize which older developed in each of those instances? discussion about work was the base? artists who have Palm trees, the Empire State Building, revolted against the rice fields? Artists' Biographies established style in Information for Teachers truly original ways. 6. In the final stage the students should be urged to use a variety of Mary Cassatt (1844-1926), possibly this media to complete the project. (The country's most famous woman painter, teacher can decide which is best.) was considered one of America's best Students can create a collage using even in her own era, although she lived in colored paper scraps and other France from the time she was 22. Her materials, or they can paint their early work in France was rejected by the works, use markers or pastels. (Make conservative Salons, but in 1877 she was a variety of materials available.) invited by Degas to exhibit with the impressionists. Although she was close to 7. Throughout the lesson, the teacher Renoir, Manet, and Cezanne, Degas was should emphasize to students that the friend who influenced her art most when their work is finished, the strongly. Her oils and pastels, especially viewer must still be able to recognize her studies of mothers and children, best which famous work inspired it. At the reveal this influence. She was also a fine same time, students must transform it printmaker who developed a special way into their own very personal work. of adding color to her graphics. Evaluation Red Grooms was born in Nashville, Students' homage art products might Tennessee, in 1937, and was voted the be evaluated according to the follow- wittiest person in the class when he ing: graduated from high school there. He 1. Did the student adapt the "master- studied art briefly at The Art Institute of work" in a number of ways? Chicago, leaving because he was dissatis- fied with the school. He tried two colleges 2. Did the student incorporate into the before finding an art teacher he really subject matter portraits, architecture, liked in Hans Hofmann, a founder of flowers, landscape, etc.? abstract expressionism, who had a school in Provincetown, Massachusetts. Soon

C-18 LESSON TWO after settling in New York in 1958, seen down the street. Well, a few minutes Grooms showed his penchant for work- later he came running back in, shouting, ing in all kinds of media, including the 'Quick, where's something I can draw "art happenings" of the late 1950s, which on?' There were some lithographic stones he was instrumental in developing. laid out on the counter, and he began to Grooms has made elaborate walk- draw right onto one of them a caricature through sculptures, assemblage paint- of this new-wave girl who was the clerk ings, flat and three-dimensional prints, at the card shop. She had purple hair and and filmsall of it serious-funny art that sunglasses, and he put her in this leop- We included the biographical is usually about city life or about art ard-skin outfit. Then behind her he added informa .ion for teachers history. His art sometimes causes a some silos and put the reflection of a to use as they see fit. "ruckus" in the art world, which does nottruck in her sunglasses. She was sup- Some may wish to duplicate it and hand always know what to make of it. posed to be the Minneapolis version of out to students. Others "Ruckus" is Grooms's own word for Christina's World.He couldn't think of a will eytend the biographies with their what he creates. name for her though, so he went back to own materials or the card shop and asked what her name Edward Hicks (see Lesson 4 in this unit) through research. was. It was Lorna Doone. That name Teachers will vary in Andrew Wyeth is often called America's absolutely made Red's dayhis week." their emphasis of historical materials, but most popular artist. He was born in (C. Howell, "Troubled Times for a all should include at Chadds Ford, Pennsylvania, in 1917, the Premier Printmaker"[Picture Magazine, least a minimum for a balanced unit. youngest child of the v .ell-known illustra- Minneapolis Tribune,April 1, 1984], p. 19). tor N. C. Wyeth, from whom he received So, inLorna. Doone(also the name of a his early art training. He admired nineteenth-century English novel that Winslow Homer, whose influence can be was often assigned reading in Grooms's seen in Wyeth's early work. He also high-school days), the artist was inspired learned from Peter Hurd, the New by an actual person to make an image Mexico artist who studied with Wyeth's that alludes to art history. father when Andrew was still a boy. Wyeth paints tonally, in a realistic mode, Red Grooms: "My work would be overly imbuing his traditional imagery with a spontaneous if I didn't force it to stick somber, sometimes hauntingly mysteri- with certain themes. You can make 'stuff' ous, expressiveness. but you're only given a certain amount of inspiration ant: it has always been Background Information for critical for me to tie that to a pertinent Grooms's Lorna Doone. subject." (J.Tully, "Red Grooms has Artful Lorna Ekon('came into being this way, Fun with High Cultureand Low."Smith- according to master printer Steven M. sonian,June 1985, p. 106. What theme is in Andersen, founder of Vermillion Press, Lorna Doone?(Answer: The hip trendiness Ltd., Minneapolis: of urban life has aspects of the loneliness and "Once when Red was here, he needed to isolation of Christina's rural world.) send a card to some friends back in New York, so he left the studio for a few minutes to drop into a card shop he'd

C-19 1

416 ,VgD, , LESSON TWO

Bibliography Extension: Cunsider this: Despite Colta F. Ives,The Great Wave: The Influence the haste with which Red Grooms of Japanese Woodcuts on FrenchPrints (New did the basic drawing for Lorna York: New York Graphic Society, 1980). Doone on the lithographic stone, he dates the piece 1979-1980. That N. M. Mathews,Mary Cassatt(New York: means it took a long time before he Harry N. Abrams in association with the considered it finished. The piece National Museum of American Art,

More information is involves not only lithography but Smithsonian Institution, 1987). given on Grooms collage, impressions with rubber Red Grooms: A Retrospective1956-1984, because teachers are less stamps (that had to be specially likely to have sufficient exh. cat. (Philadelphia: Pennsylvania made), and gouache (opaque reference material Academy of Fine Arts, 1985). at hand. watercolor) that Grooms applied by hand to each print in the edition. What does that suggest about the way this artist thinks and works? Because students respond enthusiastically to Red Grooms's work, assign students to review one or more pieces of his artwork in writing or debate whether Grooms's art will be equally appreciated by students a century from now.

C-20 SYMBOLS FROM NATURE

Lesson 3 Objectives Symbols from Nature The students will: (1 period discussion, 3-7 periods 1. Become familiar with the cultural production) context of a chi wara headdress and a The goal of this particular lesson is to Go li mask, as well as their function in introduce students to symbolic the ritual dance ceremonies of the thought. Symbolism as it relates to Bamana and Baule people (art history). nature and its use by one or two 2. Become acquainted with the head- peoples of Africa will be examined. dress and mask and learn about the Day 1: Discussion symbols that are contained within In an effort to teach students to them (criticism, art history). become more thoughtful observers, 3. Come to the realization that cultural teachers at the middle level/junior context can affect our ability to under- high can help their students develop stand the symbolic nature of a work of their perception and judgment as they art (art history). relate to logic and critical thinking within the four art disciplines. Skills of gathering visual and sensory data, analyzing, and interpreting will be emphasized in the three lessons that follow. Particular emphasis will be placed on reading and understanding symbolism as it moves from the concrete to the abstract. At a time when students are growing cogni- tively, it seems most appropriate to stress that to "see" and understand a work of art you have to do more than merely look. The goal of this particular lesson is to introduce students to natural symbolism as it is used by ,Eliot Elisofon (photographer), &Imam Pmp le, two African societies. Ante lop' Headdress,National Museum of iMill1111111African Art, Washington, D.C. C-21 LESSON THREE

The goal of this lesson is to help students understand the concept of symbolic thought, not to extract the "correct" syinbolism.

Chi Want I louldress, African, Bamana, The William Benton Museum of Art, Storrs, Connecticut.

C-22 LEESON THREE

4. Become aware that the mask and about the piece. You will use these headdress are not sculptures, but rath-questions as a review and to bring the er part of a total costume (aesthetics). lesson to closure at the end of the period. 5. Create either a clay mask or a headdress (hat) that could be worn as Lead students to an understanding of a badge of membership in a club the headdress and the culture it cam' (secret society) or for participation in afrom through questioning strategies specific ceremony or rite (production).and by providing hints and bits of Chi Warn is also information as you. go along. sometimes spelled ci wara or tyi wara. Materials 3. Have students examine the head- Image of a Chi Wara headdress, or dress. Tell them that one of the mean- Go li mask, old hats or cardboard ings of the word Wara is wild animal. paint buckets, found materials, Ask what kind of animal the head- glue, needles, thread, acrylic or dress might represent. Help them by fabric paint, Pariscraft, clay, shoe showing photographs (a science polish, or other colorings for clay, teacher can help you locate these). ribbon, yarn, raffia Once you have established with students that the headdress repre- Vocabulary sents an antelope, ask how the head- Chi Wara, Bamana, Goli, Baule, dress is like the real animal. How is it culture, cultural context, artifact, different? Do the same with pictures symbol, ritual dance, abstract, styl- of a deer and an aardvark, as African ized art experts see elements of all three Instruction animals in this type of headdress. 1. Begin this lesson by showing 4. Artists use animals as symbols in These African people students the slide or print of the Go li many cultures. Ask your students to are known as either mask ased in the previous lesson. Tell name or identify some animal sym- Bamana or Bambara. Most Africalt your students that to see and under- bols (snakes, eagles, lions, etc.). Then stand a work of art, you have to do specialists prefer the use continue questioning: Why do they of Bamana. more than merely look. Model the think the creator of this headdress process of reading the mask's sym- chose to represent animals? What bolism for them. You will find this could the antelope, anteater, and information provided for you at the aardvark signify? After students have end of this lesson. As you go along, puzzled for a bit, and while they are explain the legend and ritualistic still looking at the slide of the head- dance that Baule boys perform while dress, read the historical material wearing the mask. about the Chi Wara. (Information is at 2. Show the slide or print of the Chi end of this lesson.) Show them the Wara headdress to your students. To image of the headdress as it is worn focus students' interest, have them in the Chi Wara dance performance formulate, in writing, five questions by the Bamana dancers. Examine with

C-23 LESSON THREE

them the symbolism of the piece and telling us about the values, ideals, and how it supports the idea that survival customs of the artists who created it? in the Bamana society is tied directly Days 2--4, 5, 6, or 7: Production to the relationships of human beings In an effort to understand better the with nature. beliefs, feelings, and traditions of the 5. At this point, explain to your Bamana people, have rur students students that we cannot fully under- create a headdress (hat) that can be We realize that artstand the purpose and meaning of artworn as a badge of membership in a historians, museum unless we become familiar with the club or group (track team, honor curators, aestheticians,culture and era from which it came society, rock group, computer wiz- and anthropologists have debated theseart's place in the lives of the people ards) or for participation in a certain questions for a longand the symbolism used (cultural ceremony or rite (coming of age, time and that there is context). dating ceremony, good luck on tests). no one correct answer Using an old baseball cap or hat to anti of these 6. Point out that, from the history they questions (though there brought from home (or a form such as learned, the headdress is not sculp- are sound arguments a disposable cardboard painter's pro and con). Theseture meant to sit on a pedestal (static). bucket or plastic bowl that students arc, nonetheless,To the Bamana people, the headdress important questions can tie to their heads), have them is part of a costume and an inspira- to ask. paint, glue, or sew on ornamentation, tion object used in a dance where symbols, and designs that represent rhythm, movement, and singing are the customs, traditions, and rituals of integral to its function. Without the the club. costume, the headdress would appear incomplete to the West African who If you have difficulty securing the saw it. Ask your students to consider above-mentioned materials, have stu- the following aesthetics questions: dents design and cut the base of the Should a utilitarian cultural artifact headdress out of pliable railroad that is traditionally worn in a ceremo-board with adjustable tabs. Ample nial ritual be exhibited in an art room should be left so that the three- museum? Is it art? Why or why not? inch tabs can encircle the back of the Is exhibiting the headdress apart fromhead and be stapled to form the flat its costume misleading to the viewer? shape into a three-dimensional hat Does seeing the headdress separately once the surface treatment (decora- enhance or detract from its beauty? tion) has been completed. Students Why or why not? can use found objects as well as create them out of cardboard. You may 7. As a closing activity, ask your stu- want to make a teacher's headdress as dents to review with vou questions an example, selecting symbols such as that are important to an understand- light bulbs (for ideas), miniature ing of art, symbolism, ideas, customs, books, a torch of knowledge, a scroll and rituals. For example, what does or diploma, and even an apple (plas- the work of art mean? Who created it? tic or papier mache). The possibilities What type of culture and time period are endless. did it come from? What is the artwork

C-24 117

NUF.,$:=1" LESSOt THREE

Information for Teachers Extension: Create a ceremonial mask out of clay by using either the Chi Wara Headdress slab method of construction or by The upper portion of the male headdress drape molding a slab of clay over a from Segou in eastern Mali represents the ball of crumpled newspaper. The roan antelope. The triangles in the surface of the mask could be embel- "mane" allude to the animal's running lished through the addition of coils, path and to the daily movement of the by stamping objects into the clay to sun between the solstices. The antelope's You may want to form rhythmic patterns, or by horns represent the growth of millet. The substitute this incising into the surface. Pinching large ears emphasize how one receives extension for the headdress if you want and piercing can also be used to the courage to farm; songs about the im- your students to have give emphasis to various features portance of farming well are an essential an experience with clay. contained within the form. You element of the Chi Wara dance perfor- may want to have students leave mance. The tapered face, some experts small openings at even intervals say, is that of the anteater, symbol of du- around the perimeter of the mask. rability, strength, and resistance. The low- Students could then attach flowing er part of the headdress represents the ribbons, yarn, raffia, or strips of aardvark, determined and conscientious, torn fabric to embellish the mask whose habit of burrowing in the earth further. Shoe polish applied to the roots the seed firmly so that it can grow. mask after the bisque firing, and Farming is one of the meanings of Chi, then polished, provides a rustic whileWarncan mean wild animal, but finish. any literal meaning has generally been Evaluation lost in Mali. Old people sometimes know 1. Provide a written or oral quiz for the legend that Chi Wara was a mythical beast, half god and half man, who taught Many museum the students, sampling their under- collections contain standing of the vocabulary words. the Bamana people how to farm Mali's examples of Chi Wara dry savanna to survive, but for most of headdresses. If 2. Ask students to write a paragraph the Bamana people, Chi Wara means a possible, a museum trip about the Chi Wara headdress and would give students the theoretical champion farmer, the embodi- opportunity to the Bamana people. To what extent ment of the strength, perseverance, and experience the objects did students integrate the lesson? conscientiousness required for farming, in the round. 3. View students' drawings and talk the noblest profession to the Bamana to students about their response to mind. In Chi Wara dance performance the art production assignment. Were (now almost extinct), the male headdress they able to create a headdress or is always paired with a female version, mask that represents their interests, which has a baby on its back. Just as the club, or society? Did they place union of male and female results in obvious effort in their work? What is reproduction, so does agricultural fertility the level of their thinking and cre- come from the union between the sun ative elaboration regarding the use of and earth. Water, the other essential, is symbolism? symbolized by fiber costumes worn with C-25 1u LESSON THREE

the headdress. Drumming, singing, man and woman, and, altogether, Go li is dancing (by two young champion farm- an expression of the Baule world in all its ers), costumes, and hevddresses combine complexitymale and female, old and to send a message about the importance young, animal and human, the powerful of agriculture, the virtues it demands of and the weak, the bush and the village farmers, and the relation of the Bamana all opposite, yet interactive. The role of to the cosmos. Kplekple is, like that of a servant or messenger, to prepare the way for those Go li Mask older and better than he. Kplekple has yet The Bau le p "nple of Africa's Ivory Coast to be fully integrated into society. make four very different pairs of masks for the "dance of rejoicing" they call Go li. The Baule people adopted the Go li mask These masks work together as an en- dance from the Wan, their neighbors to semble, although most of the time only the northwest, sometime between 1900 three of the pairs are seen. The mask in and 1910. They quickly adapted it to this lesson is the simplest: round as a express their own view of the world. plate and virtually as flat, except for Today, in the Baule country, no mask curved horns and projecting eyes and performance is as widespread and mouth. (See Lesson 1.) Called Kplekple (or beloved as Go li, a daylong spectacle that Kouassi Gbe), it represents the "junior involves the entire village. male" and is always worn by two young Bibliography boys who are inexperienced dancers. H. Cole, ed., I Am Not Myself: The Art of They are the first to appear in Go li, their African Masquerade, exh. cat. (Los Angeles: bodies hidden to the waist by shaggy Museum of Cultural History, University bark fiber capes attached to the broad of California, 1985), pp. 28-33. carved collar that edges the mask. A goat P. Imperato, "The Dance of the Tvi hide is nailed to the mask's top so that it Wara," African Arts, 4, no. 1 (1970), pp. 8- hangs down the dancers' backs. The rest 13, 71-80. c' the costume requires a knee-length J. Maquet, The Aesthetic Experience: An skirt of bark fiber, bark fiber fringe at Anthropologist Looks at the Visual Arts wrists and ankles, and ankle bells. (New Haven, CT, and London: Yale The Kplekple mask is inspired by the University Press, 1986). form of the African goat. The "goatness" P. Ravenhill, "An African Triptych: On of Kplekple symbolizes raw youth: the the Interpretation of Three Parts and the animal-like physical strength of youth Whole," Art Journal 37, no. 2 (1988), pp.. without the tempering wisdom of age. 88-94. The mask is looked upon as rather ugly S. Vogel, ed., For Spirits and Kings: African by the Baule people, and the dance Art from the Paul and Ruth Tishman consists of little more than rapid stamp- Collection, exh. cat. (New York: Metropoli- ing of feet signifying the impetuousness tan Museum of Art, 1981). of youth. Thus, Kplekple is seen as inferior to all others in the Bau le hierar- 119 chy. The other masks in Goli represent

WNW C-26 LESSON SYMBOL SYSTEMS IN ART 0 U

Lesson 4 Objectives Symbol Systems in Art The students will: (1 period) 1. Search for visual clues within both paintings that give them information The purpose of this lesson will be to about the time period, local people, make students aware of how Western and their relationships (criticism, art culture, among others, has used an history). established symbol system to convey meaning through art. When ap- 2. Identify symbols they recognize proaching symbolism this time, pointwithin each painting (criticism). out to students that there are certain 3. Come to realize that through the clues in a work of art that indicate use of a broad range of visual sym- there may be more than meets the bols, a piece of art can convey a eye. Emphasize that interpretations message to the viewer (aesthetics). may vary. Everyone approaches a work of art with varied experience 4. Attempt to analyze and interpret The more experience and background. There is no exact, the ideas and ideals expressed within one brings to viewing a work of art, the more absolute answer to the questions: each painting (criticism). one learns from it. "What does this painting mean?" or Help students "What is the artist trying to tell us?" understand that many Materials symbols have specific Students also have to realize, how- Slides or color reproductions of meanings related ever, that not just anything goes. It is Giovanni Arnolfini and His Bride by closely to the period or hoped that by making students aware culture that are not Jan van Eyck and of Peaceable readily discernable. of the symbolic content in art, they Kingdom by Edward Hicks. (Select will pause and think as they create a version of Peaceable Kingdom that their own work. Ultimately, we want contains William Penn's signing of them to reflect and ask themselves the treaty with the Indians.) before their pencil even hits the paper: "What message do I want to convey?" or "What story do I have to tell?" This concept will be reinforced in Lesson 5.

C-27 .'1*M74,r1') rai*Tir it - ', ' 5strti, ,!' Akt , k , N ,, - "-.,, ,-: -, - ,,,,;', - .,

1 . t ` ' -... . I , - '"ot"Ntgke6-A ,,- R. ., -(i "-" ' ..1" s > ' LESSON FOUR

Vocabulary life as well as death), etc. You might Interpretation, symbol system, analy- refer to the American flag and explain sis, folk art, juxtaposition the symbolic use of color there: red hardness and courage, whitepurity Instruction and innocence, bluevigilance, 1. Briefly review symbolism from the perseverance, and justice. Show previous lesson. pictures of such things as the Chris- 2. Focus the students' attention on thetian cross, a rose, a peace sign, a Star Jan van Eyck and Hicks paintings. of David, and have students say what Explain the purpose of this lesson. they represent. Then ask them to look at a painting and make notes on this 3. Have students break up into small checklist. cooperative learning groups (3-4 to a group). Because students have a 4. Using all information gathered so somewhat limited range of experi- far, have students attempt to interpret ences, teams will probably be able to the meaning of both paintings. The extract more symbolism in groups teacher should check fog understand- than if students were working indi- ing and give guided assistance to all vidually. Students are to identify as groups regarding the checklist. Have many symbols from the two paintingseach group report its findings orally as they can on their own without to the entire class. The teacher should background knowledge and attempt list these on the board. to determine the meaning of the 5. As a class, identify common strands symbols. Explain to each group that that recur in the various groups and they will receive a group grade for circle them in colored chalk. their written responses to the Symbol- ism Checklist. 6. Distribute copies of the information on both artists and their paintings To help them with this task, duplicate and ask students to read silently and hand out to each group a copy of while you read aloud. How close did the Symbolism Checklist provided for the class come to interpreting the you on page C-31. Give students a symbols, as well as the symbolic little pep talk to remind them that meanings of the paintings? Explain to they already know how to "read" your students how art critics and many symbols: a clerical collar to historians document information indicate a priest, shelves full of books about artists and their art. behind a person in a picture to show that he or she is well-educated, 7. In conclusion, reemphasize that a people shaking hands as a sign of work of art can express ideas through goodwill. Ask them to think of the a preestablished system of symbols. symbolism of colors: red, for instance,Some societies still use symbol sys- to stand for love (who ever heard of a tems in their art, but Western cultures blue Valentine heart?) or for danger, do not use symbolism as much any heat, anger, blood (and, therefore, for more. Students should remain alert

C-29 122 LESSON FOUR and look carefully, but they should 2. Observe the level of participation be careful not to go overboard and and enthusiasm of each group for this become symbol hunters who try to activity. see symbols everywhere. Point out 3. As a review and as a form of that there are other methods to evaluation, at the beginning of the convey meaning in art. Students will next class period ask students to explore some of them in the next thumb through several images (post- lesson. cards, magazine ads) and select those Evaluation that employ symbols. When you are 1. Note the information gathered by determining which images to use, each group to assess their levels of choose simple things, because these understanding of symbolism in art. students are beginners. For example, Are students able to analyze and show a dove with an olive branch in interpret meaning from imbedded its beak as a peace symbol. symbols?

r"5-

; a

Edward Hicks,Peaceable Kingdom,The National Gallery of Art, Washington, D.C.

123

C-30 LESSON FOUR

Extension 1. You might include some very abstract and nonobjective artworks and demonstrate ways that meaning or mood can be interpreted with respect to them. Students might be asked to research information about abstract art, artists, and the general intent of such art. 2. This lesson has many natural extensions in students' art production. Students might become much more aware of the use of symbols in their own artwork. They might consciously attempt to draw or paint using symbols that they think might be expressive. Provide an opportunity to produce original art using their own symbols.

Symbolism Checklist I. Historical and Cultural Environment

A.Clothing. What does their clothing indicate about the subjects who they are, their role in society, social status, when and where they lived? B. Environment. What does the setting tell you about the people in the painting, what they are like, where they are, their era? What things (such as books, jewels, or other manufactured objects, or certain animals, flowers, or fruit) do they have on or near them? C. Activities. What are the subjects of the painting doing? What is the painting about?

II. Elements and Principles of Design. (Students who have had discipline- based art education in elementary school will have prior knowledge in this area.) A. Composition. Are certain images, colors, highlights, or other elements dominant? If so, why might that be?

B.Juxtaposition. Are there images in the painting near once another that would probably not be near in life? Are there images that seem out of place in the painting? III. Other Clues. What does the title of the work or the words in the work say or imply?

121

C-31 LESSON FOUR Artists' Biographies the shoeless couplea sign that they are Information for Teachers standing on holy ground; an orange generosi,y; the eggsfertility. Ten scenes Jan van Eyck (Yan van Ike) (1390-1441), from the Passion of Christ are repre- Giovanni Arno !MU and His Bride. sented in the mirror frame, and a figure Van Eyck was a Flemish artist who was of Saint Margaret, patron saint of brides, originally trained as a book illuminator. is carved on a bedpost. He became a leading oil painter and was Edward Hicks (1780-1849), Peaceable responsible for introducing a new paint- Kingdom. ing tradition. He was a court painter to Hicks had been raised by a Quaker family Philip the Good, Duke of Burgundy. One in Pennsylvania, and in his own day he of his most famous paintings, a wedding was not considered to be, nor did he portrait, Giovanni Arnolfini and His Bride, think of himself as, an artist. He started is considered a masterpiece of the period. his career as a coach and sign painter and When Giovanni Arnolfini decided to then became a Quaker preacher in marry, he searched for the best painter he Newton, Pennsylvania. could find to record his marriage. The serious young couple seem to be ex- American folk art, which flourished from changing marriage vows in the privacy of1750-1900 until the advent of the machine their bridal chamber. age, is an expression, traditional in nature, of the common person. Descrip- The wedding portrait, which is dated tors used to define folk art include 1434, is a panel that measures 33 x 22.5 primitive, naive, or self-taught. Most folk inches. The oil painting is, in fact, a artists have little or no formal training. double portrait. The bride and groom are Their approach is simple and pictured in the foreground, and, if you uncomplicated rather than sophisticated. look carefully enough, you can see Symbols may vary Folk artists used popular prints and reflected in the mirror on the back wall slightly depending on engravings as source materials, and they (in the detail reproduction) that two other which Hicks painting relied on strength of design rather than yon use. people are in the room. One of them may on realism in their work. have been van Eyck because the words in Latin above the mirror say "Jan van Eyck Hicks, who painted in the folk tradition, was here," and is dated 1434. executed many slightly different versions of a subject very dear to himthe peace- Van Eyck, painting two figures able kingdom. (Expert opinions vary on (witnesses) in the mirror, has created a exactly how many were created, but there kind of marriage certificate. This very are at least several dozen.) These paint- detailed painting is filled with hidden ings were religious and historical in symbolism that conveys the holy nature nature and illustrate the prophecy of of marriage. The burning candle in the Isaiah that, with God's peaceable king- chandelier represents the presence of dom on earth, the lion would lie down God; the mirrorvirginity; the sacramen- with the lamb, and a child would lead tal beadsdedication to the church; the dogloyalty between husband and wife; wild and domestic animals alike to peace. Hicks also incorporated into many of his 4111=11 C-32 1 r- LESSON FOUR paintings on this subject a depiction of Penn wrote a document titled Charter of William Penn purchasing Pennsylvania I.iberties for the newly established colony from the Indians. (which he referred to as his "Holy Exper- iment"). Penn's document later became Hicks's personal vision of the ideal is full model for the U. S. Constitution. of symbolism. The dove, or bird of peace, the lamb, the lion, the olive branch, the Penn knew how important it was to oak leaf, the eagle, the wolf, and the establish peaceful relationships with the inclusion of animals, all symbolic in Indians (Delaware-Lenape). He sent nature, help to reinforce his message. messages of friendship to them, he paid them for their land, and wrote rules for Hicks was not inhibited by the fact that their fair treatment. Quakers believed in the signing of Penn's treaty with the In- strict honesty in business. They were dians could not have occurred simultane- against violence, war, and any kind of ously with Isaiah's Old Testament proph- unfair treatment of one person by ecy. He did not restrict himself by the another. demands of reality, visual or historical. One historical writer said, "It was the Hicks painted in the manner of most only treaty between Indians and Chris- untrained folk artists. Forms were kept tians that was never broken." Penn told a flat, contours clearly defined. Hicks had group of Indians, "All will be brother- the unique ability to symbolize beliefs in hood and love. I consider us all the same a sincere, direct way. This approach to flesh and blood joined by one heart." painting stemmed from printed images of "The Indians and colonists must live in Bible illustrations and folk patterns that love as long as the sun and moon give Hicks was exposed to. light," was the reply given by the Indian Hicks's portrayal of animals and their chief. surrounding landscape is serene and Bibliography beautiful. The animals who stare out from M. Baxandall, Painting and Experience in the canvas have expressive and almost Fifteenth Century Italy (New York: Oxford human eyes. University Press, 1988). A primer in the Hicks thought of himself as "nothing but social history of pictorial style. a poor worthless insignificant painter." E. Goldstein et al., Understanding and He originally painted his Peaceable Creating Art (Dallas: Garrard Publishing Kingdoms for family and friends, but Company, 1986). received as much as twenty dollars, which included, by the way, "a frame E. Mullins, The Master Painter (New York: with ten coats of varnish" for some of his Doubleday, 1988). A novel about Jan van last paintings in the series. Eyck.

Penn's Treaty with the Indians. N. Roukes, Art Synectics (Calgary: Juniro William Penn, a devoted Quaker, came to Arts Publications, 1982). America to begin a colony, which became known as Pennsylvania (Penn's woods).

C-33 1 2 f UNIVERSAL MEANINGS

Lesson 5 3. Discuss the use of imagery as it Universal Meanings relates to the symbolic content of a (1 period discussion, 3-6 periods lithograph and a story cloth (criti- production) cism). Day 1: Discussion 4. Create a work of art that is based The purpose of this lesson is to teach on a human condition or issue and students that art can sometimes that will, if successful, communicate communicate meaning by transcend- the issue to others (production). ing time, culture, and traditional symbol systems. Students will explore Materials renditions of universal elements in Slides or reproductions of Das human behavior, feelings, and emo- Warten (The Waiting) by Kathe tions. The messages contained within Kollwitz and the Story Cloth by the two pieces of artwork need not be Chiang Xiong, or similar repro- The work of Kiithe explained in words or even analyzed. ductions emphasizing symbolic Kollwitz was selectedThe symbolic meaning of the artwork, meanings. because her art takes symbolism a step especially in the Kollwitz lithograph beyond the narrativeThe Writing, is intuitively perceived. Vocabulary that we will explore in The viewer completes the work the story cloth. Her Intuitive, universal, narrative, lithographs, andthrough intuitive response. lithograph contemporary art in general, have movedObjectives Instruction away from theThe students will: 1. Show a slide or give students a full- conscious use of page photocopy of the Story Cloth and traditional symbol1. Recognize that art can sometimes ask them to examine it. systems to convey transcend time, culture, and tradi- specific meaning. Rather, the zoork of art tional symbol systems (art history, 2. Ask students to approach meaning itself becomes theaesthetics). intuitively. Ask them to give you symbol, an individual their gut feeling about what is hap- and personal expression 2. Realize, through discussion, that art pening in the story cloth. For the of the artist'scan be universal enough to be under- inner vision. being, caution them against using stood by all of humanity (criticism, analysis to help interpret meaning. aesthetics).

C-34 1 27

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LESSON FIVE

What immediate mood was evoked Extension: If time permits, ask by looking at the story cloth? What students to go back and gather might have triggered that response? additional analytical inforination 3. Point out to your students that the that would help them understand story cloth can be interpreted either the various levels of meaning. (For intuitively or analytically. Regardless example, the use of light and dark of approach, however, the symbolism triangles in the border differs from the use of dark and light in some We know of the manycan be understood without knowing positive and negativesome obscure symbols in it that only other societies. It is opposite: dark = issue ; of tlw day thatLaotians would readily recohize. goodness, light = evil.) influe).ce our students. This lesson is intended to assist them to express themes or issues of importance to them in their own artwork, as well as, possibly, to deal with these issues in their own lives.

Chiang Xiong, Story Cloth, Wadsworth Atheneum, Hartford, Connecticut. LESSON FIVE

4. Ask students to describe the people7. After several minutes, have them in the story cloth. What kind of sym- select words that best describe their bolic arrangement is suggested by thespontaneous responses. placement of the figures? The river? 8. List reactions on the board. How The border? How are the people's many students had the same initial plights depicted? How does the em- reaction? broiderer use perspective and movement to help express that plight? 9. Ask students to look at the lithograph again. Why did the artist put You may want to refer Read the background information to to the "Word as Image" the students about Chiang Xiong. Askwords on it? Was she afraid that we unit for additional the students whether they consider wouldn't get the message? What do information about why artists incorporate (Das Warten the story cloth to be a functional ob- you think the words say? words into their work. ject, art, bothor something else? means "the waiting.") Is the figure a Have them give evidence and supportman or a woman? Why? How much their opinions. Why did the artist electdoes it matter? sewing as a way to record her experi- 10. In conclusion, remind students ences? What artistic media would havethat Kollwitz's unique genius was her been available in the refugee camps? ability to convey universal aspects of 5. Do you feel Chiang Xiong has been human experience through imagery. successful in expressing her feelings Her work transcends time and cul- and ideas? Why? Would you like the tural context. in your own home? Why? Story Cloth Evaluation Ask students to describe human 1. Ask students to offer examples of struggles that exist in our own coun- how art can communicate intuitively try. Can they think of visual elements across time and culture. to represent each human condition? Have students compare their list of 2. Quiz students on the material symbols with the symbolism used in learned (including vocabulary) in theStory Cloth. Lessons 3, 4, and 5, about various ways in which symbolism can be 6. Pass out photocopies of Kollwitz's used, and visual identification of the lithographDas Warten,placing them artists studied. face down as you do so. Ask students not to turn them over until you tell Lesson 5: Days 2-4, 5, 6, or 7 them to. When the students turn themStudent Art Production over, ask them to write down their This production could be done in initial intuitive responses to the three to six 45-minute periods, de- Kollwitz piece. Stress that silence and pending up an how complex you attentiveness are needed. Instruct stu-want to make the project. dents to look at the image and not to Materials for Production think much about what they are writ- Illustration board 18 x 24", fabric, ing until you ask them to stop the trim, buttons, paper, scissors, glue activity.

C-37 LESSON FIVE Production Artists' Biographies 1. Through class discussion, identify Information for Teachers current human issues around which a Chiang Xiong (born 1953) A Laotian, work of art could be created (i.e., war, Chiang Xiong now resides in Providence, famine, conservation, political impris- Rhode Island. The Hmong Laotians are a onment, peace). Have students inves- non-Han Chinese mountain people who tigate their topics through the use of live in the hills of continental Southeast magazines, newspapers, and media broadcasts. Asia, and, in increasing numbers, in the United States. 2. Have students develop visual sym- Note: We could not obtain a phonetic spelling bols appropriate to their topics, and, of the artist's name. If you have a student or in conjunction with their research, community member who is Laotian, prefer- create a preliminary pencil rendering for their own story cloth. Introduce ably Hmong, perhaps he or she can offer you a correct pronunciation. students to the work of other artists who have focused on such issues and Thousands of Hmong recruits from Laos who have used symbols or other fought beside American soldiers through- communicative techniques in a out the Vietnam conflict. In the 1970s widely understood manner. when Laos fell to North Vietnam, families were forced to flee their country. The U. 3. Using illustration board, fabric, S. government set up refugee camps in trim, button, paper, etc., create an Thailand. It is in these camps that the appliqué story-cloth collage that will Hmong began to create story cloths that communicate students' chosen issues to others, or create an actual appliqué employ their textile traditions and record story cloth. their arduous struggle for freedom. Evaluation The cloths were embroidered so that they tell a story. The story cloth created by Hold an exhibition of the completed story cloths and have viewers react byChiang Xiong, which is pieced and writing and sharing their interpreta- embroidered, depicts her flight from Laos (beginning in the upper right). From tion of each piece. Grades could be based on how well a majority of there the story follows to the left, then diagonally to the mid-right, lower right, viewers could understand the in- then to the lower left, documenting the tended symbolic meaning. most terrifying events of the long journey to the refugee camp, including the trial of crossing the Mekong River.

Hmong design features the interplay of advancing and receding colors, positive and negative space, and textural interest created by the use of several appliqué and embroidery techniques in one piece.

C-38 131 LESSON FIVE

The dark triangles in the border are said Bibliography to hold the good spirits within, while the A. Capetta and D. Fitzgerald, "Chiang light triangles push evil spirits out. Xiong: Story Cloth," Art Education (July 1989), pp. 35-36. Kathe Kollwitz (Kay-ta Koal-vits) (1867- 1945) A graphic artist who lived and Hmong Art: Tradition and Change, exh. cat. studied in Germany, Kollwitz produced (Sheboygan, WI: John Michael Kohler Art very powerful drawings and prints Center, 1985). Includes pronunciation around the themes of sickness, hunger, guide. war, and death. Self-portraits are contained in many of her works. Her prints, C. Jung, Man and His Symbols (New York: which are very expressive, are a product Doubleday & Co., 1964). of the times in which she lived. She M. Kearns, Kiithe Kollwitz: Woman and suffered in two world wars, losing a son to one, a grandson to the other. Kollwitz Artist (Old Westbury, NY: Feminist Press, chose to work as a printmaker because 1976). she could produce several copies of art S. Peterson, "Translating Experience and image, which made her art affordable. the Reading of a Story Cloth," Journal of She worked with both lithography and American Folklore, 101 (1988), pp. 6-22. woodcut. Although she initially portrayed the desperate nature of the people Stories to Tell: The Narrative Impulse in who lived during that period in history, Contemporary New England Folk Art, exh. her images have become universal cat. (Lincoln, MA: DeCordova and Dana symbols of sorrow. Kollwitz was married Museum, 1988). to a medical doctor and had two sons.

132

C LESSON FOLK vs. FINE ART X

Lesson 6 4. Increase students' awareness of Folk vs. Fine Art historical, social, and various cultural (1 period discussion, 3-6 periods influences that affect a work of art (art production) history). Day 1: Discussion 5. Construct a weather vane in the Definitions of folk art vary. The term folk art tradition (art production). folk art in this lesson should be used 6. Consider the question: What is art? in its broadest context. (aesthetics) The students will acquire the skills needed to define for themselves what Materials art is. The lesson will focus on folk art Slides or reproductions of Peaceable vs. fine art. The students will explore Kingdom and The Cornell Farm by works of art using the four disci- Edward Hicks, Lion Attacking a plines. At the end of the lesson, the Horse by George Stubbs, Race students will form their own value Horses by Edgar Degas, pictures of judgments in defining what art is. weather vanes and cards for aesthetics activity. Objectives The students will: Art Materials Needed Paper, scissors, glue, mat knives, 1. Compare and contrast works of cardboard (1/4-1/2" in thickness), folk and fine art through visual wood, copper or aluminum sheets images (criticism). See reproductions or Styrofoam (whichever Lhe listed in the lesson. teacher has available), dowels (for 2. Reinforce students' observations mounting). Cardboard vanes and understanding of the principles should not be exposed to the of design (criticism, aesthetics). elements! 3. Compare and contrast functional- ism vs. art for art's sake, and the 133 academically trained artist vs. the self-taught artist (criticism).

C-40 LESSON SIX

Vocabulary evaluation process.) This same exer- Folk art, inventiveness, utilitarian, cise will be repeated at the very end decorative arts, fine arts, academicallyof the lesson as an evaluative tool. trained, refined, conventional, con- Collect all writings and hand them noisseurship back to students at the end of the lesson. Instruction 1. The teacher will display four or five2. Introduce vocabulary. Show the art prints and/or objects and ask the students the reproductions Peaceable students to look at them closely and Kingdom and The Cornell Farm by write a paragraph on the ones they Edward Hicks, Lion Attacking a Horse think are considered art and why. At by George Stubbs, and Race Horses by this point, the students will become Edgar Degas. Again, ask the students to become detectives and ask them detectives and do the guesswork, which paintings they consider to be without the teacher giving them any the best, and why. Ask them to background at all. The teacher should compare and contrast the paintings. pose specific questions and provide Which one or ones would they want enough direction to lead the students to own for themselves? Which artist to their own conclusions. The teacher or artists went to art school or had art also has the option, however, to use a training? Which paintings look cooperative learning technique, simple or flat? Which ones look very where students work in groups or real because of their light and shade pairs. (This lesson could be video- and texture? (Class discussion.) taped to help the teacher in the final

Edward Hicks,The Cornell Farm,The National Gallery of Art, Washington, D.C.

C-41 134 LESSON SIX .1:11iMMIE -:1

George Stubbs, Lion Attacking a Horse, Yale University Art Gallery, New Haven, Connecticut.

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Edgar Degas, Race Horses, The Cleveland Museum of Art, Cleveland, Ohio.

C-42 BEST COPYAVAILABLE LESSON SIX

3. Introduce the concepts of folk and shapes typically used by the folk fine art to the students. Give them theartist. Show other available pictures necessary background (see back- and/ or slides of folk art, if possible. ground in lesson) to facilitate further Ask the students these questions: discussion of the works: the un-, Does the artists' lack of formal art trained folk artist vs. the academicallytraining limit their ability to express trained artist. Call attention to the ideas? Do folk artists tell us what strong use of composition and ele- people and things really looked like? ments of design in works of fine art, Did the academic artists show us only We have organized these activities and opposed to the flat, simple, direct the cultivated side of life? Why were -liscussions to engage students in critical, historical, and philosophical issues about art. Consider providing a ditto sheet to organize their responses.

Henry 0. Tanner, The Banjo Lesson, Hampton University Museum, Hampton, Virginia. C-43 13 :3 BEST COPYAVAILABLE

. i LESSON SIX

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D. Morrill, Minstrel Banjo Player, Wadsworth Atheneum, Hartford, Connecticut.

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C-44 and are so many folk artists unnamed sporting pursuits. Edgar Degas, a by art history texts today? Why were French impressionist artist, academi- and are so many of their works cally trained, composed paintings in unsigned? Also, did you know that ways to suggest casual vision. He people pay very high prices for folk gave his subjects a looser rhythmic art today? (Class discussion.) quality, a feeling of movement (see Race Horses), but he still retained a Note: Point out that people do pay very controlled sense of composition and high prices for folk art today. the elements of design. The teacher should note that this background on the artist and their works is very Extension: If time permits, the important to the lesson. (See back- teacher could show students The ground and artists' biographies.) Banjo Lesson by Henry 0. Tanner (an easily accessible print) and Ask the students to reflect back to the Minstrel Banjo Player by D. Morrill previous lessons on gathering infor- (pages C-43 and C-44). Ask the mation in a work of art. Have them students to compare and contrast discuss together what significance these two reproductions for differ- (including symbolism) they found in ences in the two works. Which Peaceable Kingdom by Hicks and in the work is fine art? Which work is folk Chi Wara headdress. Ask the stuart? Is the instrument (the banjo) a dents to look at these two works piece of folk art that has been again in the context of folk and fine passed along from an earlier period art. For example, what was the in history? Are both the paintings functional aspect of the Chi Wara art? Why or why not? headdress in relation to folk art? Examine the direct approach Hicks Note: The banjo was introduced to used in Peaceable Kingdom and his America by blacks from Africa and was ability to symbolize beliefs in a extremely popular in the 1800s. Art and sincere, direct way from his religious music could be tied together here if time Quaker background. permits. Evaluation 4. Give the students a brief back- Ask students to do a brief writing ground on each artist, including exercise focusing on the six reproduc- cultural influences that affected their tions of the paintings they were works. For example, Hicks was a self- shown and to tell which ones they taught American artist, a Quaker of a consider to be fine art, folk art, good strong religious background. Stubbs, art, bad art, and why. The teacher, on the other hand, was academically after ten minutes, should ask for trained to the point that he dissected volunteers to read their responses. his subject matter (the horses) to studyThe teacher uses this part of the anatomy in depth; he also painted lesson again as an evaluative tool to subjects of English aristocracy and see if they understand differences.

C-45 136

Fla :,tgair' 3:4 LESSON SIX 111. Information for Teachers Much of American folk art was copied from engravings, from academic paint- Folk Art ings, or magazine illustrations. This is Our understanding of a work of art can how people in small rural towns received be enriched by appreciating its aesthetic their art education. qualities and what it reveals about its history and culture. Folk art is a tradi- Typically, in small towns it was the tional expression that is not affected by women who learned to sew. These were stylistic trends of academic art. In folk art,the hard-working women who brought we often find an artistic innocence, exciting color and pattern into their originality of concept, creativity of homes by making quilts and rugs. Quilts, design, craftsmanship in a particular for example, were critical in bringing medium, and inspiration. Folk art usually women together in the past, and in appeals directly and intimately, and one certain cultures this still holds true today. finds it to be a vehicle of historical and Recording family history and memorial- cultural data. Some folk artists' works, izing events are and were part of the such as quilts and floor coverings, displayquiltmaking proce;. (See bibliography: effective use of color and pattern in form Hearts and Hands: The Influence of Women and line. and Quilts on American Society by P. Ferrero et al.) Folk art as well as fine art is found all over the globe. Many folk artists are Folk art is generally characterized by an obscure, if not entirely unknown. This io artistic innocence that distinguishes it because folk artists are usually from smallfrom works of fine art or the formal rural areas and do not find a need to sign decorative arts. This, for instance, is the their work. We have learned that most definition of the famous pioneer in folk European countries have their own art collecting, whose collections are now provincial artinformal, naive, and the foundation of the Shelburne Museum, nonacademicthat is comparable to folk Vermont: art in the United States. Like fine art, "What is American folk art? My interpre- American folk art shows European and tation is a simple one. Since the word Oriental influence. In addition, we find a 'folk' in America means all of us, folk art strong sense of folk art in Canada, is that self-expression which has welled Mexico, Latin America, and Africa. up from the hearts and hands of the American folk artists painted portraits people. .. .Their work can be exquisitely and landscapes, as well as decoration on wrought or it can be crude. We are apt to furniture and walls. There were carriage, differ in our ideas as to whether it is truly sign, and house painters, potters, and art, and to what degree it is artistic. But stonecutters, etc. Gravestones, made by we must sense in all of the work properly the stonecutters, were the first sculptures identified as folk art the strong desire on in America. Many folk artists were the part of the people to create something trained craftspersons who did not con- of beauty." (E. H. Webb, 1888-1960, sider the products of their craft as art. Antiques, February 1988, p. 453.)

C-46 LESSON SIX

Brief History of Weather Vanes bibliography: Weather Vanes by C. Weather vanes essentially tell us which Klamkin.) A trip to Boston could be an way the wind is blowing. Many people exciting field trip when making your own used them to predict the weather before weather vanes. Of course, there are many the invention of the barometer. Today, wetowns and cities in New England, as well still find weather vanes on top of barns, as around the country, where a walking houses, churches, and historic public tour around the local town square would buildings, but many are now found in be another way of seeing actual weather museums as part of folk art and Ameri- vanes in motion. cana collections. Recently, weather vanes Reproductions suggested for this lesson have become popular collection items, or select from your own resources: and people pay very high prices for them,Nicholas Amantea, Indian Weathervane for they are becoming increasingly rare. Anon., The Anima! Kingdom The public now views weather vanes not Lucille Chabot, Angel Gabriel Weathervane only as functional pieces but also as Edgar Degas, Gentlemen's Race, Before the works of art. Weather vanes often depict Start traditional motifs. The most common Edgar Degas, Jockeys Before the motifs are domestic animals, such as Grandstands horses, cows, and roosters. Another Edgar Degas, Jockeys Before the Race incorporates banners, pennants, and Edgar Degas, Jockeys in the Rain arrows, which are usually seen on Edgar Degas, Race Horses churches and other public buildings. Edgar Degas, The Trainers Other styles depict various fish, creatures Edward Hicks, Peaceable Kingdom from mythology, and patriotic or trade Edward Hicks, The Cornell Farm emblems. D. Morrill, Minstrel Banjo Player Weather vanes were made from a variety George Stubbs, Lion Attai.king a Horse of materials. The old weather vanes George Stubbs, Mares and Foals found today were carved of wood or Henry 0. Tanner, The Banjo Lesson made of copper, and over the years have Lesson 6 been fashioned from simple materials, Folk vs. Fine Art such as wooden boards or plain sheet Days 2-4, 5, 6, or 7: Production iron, copper, zinc, tin, and brass. Weather vanes are now being produced from cast Preparation aluminum, stainless steel, and fiberglass. See art reproductions and art materi- Teachers and students from or near als listed in Lesson 6: Part I. Read Boston can see historic vanes in their background materials at end of the original places: the grasshopper on top of lesson. Prepare for art production Boston's Faneuil Hall, the rooster on the activity. The students will construct a First Church of Cambridge, and the weather vane in the folk art tradition. banner on the Old North Church in They may also do a watercolor ren- Boston. These three vanes were made by dering first of a weather vane or Shorn Drowne, America's first carousel animal. documented weather vane maker. (See LESSON SIX

Instruction juncture if movement of the vane is Prepare students for the production desired. activity by providing information 5. Students can paint or stain their about the history and function of vanes if made of wood. Note: The weather vanes and the folk tradition teacher should make a sound example of creating them. Use the background before doing this with the students. The material at the end of this lesson. construction should be shown step bit step 1. Students will develop preliminary to ensure its success. sketches of animal shapes for their 6. Students' weather vanes should be weather vane. They may refer to displayed where they can respond to Peaceable Kingdom or The Animal wind. These weather vanes will make Kingdom for ideas. They should a delightful, original display in the concentrate on a flat, simple animal folk art tradition. shape. If using metal, it should be raised and textured after the shapes Evaluation are cut, but before assembling the two1. The students will be given grades halves. for the production part of the project (performance measurement), as well 2. The students will enlarge and as extra credit or bonus points for transfer their shapes onto material the their verbal and written participation teacher prov'des (for example: card- in the project (attitude measurement). board, wood, aluminum or copper This information should be told to the sheets). 2 1 /2 x 2 1 /2 ft. is a desirable students at the very beginning of the size for their shapes. lesson. Use items a through d for a 3. The students will cut out two of thethis:. critique or teacher/student same shapes and fasten them to- interview: gether, leaving an opening at the a. Did the student utilize the art bottom. Stuff the weather vane with media to produce movement, plastic garbage bags to expand the volume, and space in his or her form and continue to close up the weather vane? form. Leave a small opening to insert the dowel. The pivot point must be b. Did the student use art media to one-third of the way from the bottom produce expressive qualities, such edge so that two-thirds of the weight as angularity, sharpness, etc.? is pushed by the wind. The weather c. Did the student use cultural and/ vane must have even weight distribu- or personal symbols to express tion for it to work properly. ideas? 4. Students may also want to make a d. Did the student use art media and directional attachment (north/south/ techniques in a variety of ways? east/west), which should also be e. Did the student shift easily from attached and reinforced at the joints. one medium to another? Glue should not be used at the (observation) C-48 1`i1

'''AfV1119,4(a,:t1K174: .; LESSON SIX

f. Did the student understand the your definitions change or stay the functional quality of the weather same? If your point of view changed, vane? (interview) what caused it? Suppose you could have the original painting of one of g. Did the student understand that these reproductions, which one the weather vane can also be a would you choose for yourself? Why? work of art? (interview) Closing Statement 2. The teacher will once again display Remind the students that there will the prints and/or objects used in the always be the question, "What is art?" beginning of the lesson and have and that it is fine to make personal . students write which ones are art or judgments, but before they do, they not and why. The students' first should look at art, study it, and open writings will be passed back after the their minds to its rich variety. second writing is completed (class discussion). The teacher asks: Did

Angel Gabriel Weathervane, The National Gallery of Art, Washington, D.C.

1 2

C-49 LESSON SIX

Extensions 1. Make a quilt in which each student will be responsible for one section (a paper rather than a cloth quilt can be made if the time is limited). 2. Draw on large paper a life-size carousel animal or weather vane in correct proportion and then traditionally execute it, focusing on form, volume, color, shading, and texture. 3. Construct a simple toy, using cardboard, wood, and found objects (show examples of folk art whirligigs if available). Have students do a brief write- up afterward on how their toy can be used (functional project). 4. Construct different carousel animals out of clay. The class can construct actual carousels by assembling them all together in the end. 5. Make a sign out of clay that has a purpose for each individual student. Students can include a symbol within their sign that is characteristic only of them. (Teacher can show examples of folk art signs from books or slides. For example: opticians' signs, cigar signs, or store signs.) 6. Ask students to respond to a series of art reproductions, including examples of fine and folk art. The teacher can easily make a set of color-coded cards that say the following:

this is the best work of art this is worth the most money this is the most colorful this one shows the most skill

this one took the most time Or you can choose any other characteristics. These cards can be placed by students next to the reproductions, and discussion of issues and disagree- ments will naturally follow.

1 CI

C-50 4

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. LESSON SIX

Information for Teachers the work. His horses are alive with The Banjo Lesson (1893) Henry 0. Tanne movement, rhythm, and gesture. (see under artist biography). Tanner's Note: The teacher should use resources to finest work from his early painting find other materials that would be helpful for career. He was 24 years old when he the unit. For example: additional picture painted it. slides of folk art from around the world. Minstrel Banjo Player (1860) D. Morrill, oil Possibly, the teacher could bring in real folk painting found in New England, signed art objects. and dated. The artist was known for this Artists' Biographies single painting of a banjo player. Edgar Degas (1834-1917). Degas was Chi Warn Headdress. See Lesson 3. born in Paris, France. He was an impressionist artist who worked to the most The Cornell Farm (1848) Edward Hicks, oil exacting standard. In his studio he on canvas, 36 3/4 x 49", National Gallery experimented with every technique and of Art, Washington, D.C. The painting media, straining his ingenuity to discover depicts an Indian summer view of the the methods of the old masters. Degas James C. Cornell farm of Northampton, exhibited along with other painters, first Bucks County, Pennsylvania. Hicks did at the Salon, and then with the impres- this painting when he was 69 years of sionists. Degas kept to himself, his studio age. The man highlighted in the gray being his sanctuary. It is interesting to belted coat has been identified as James C. note that Degas held only a single one- Cornell. man show in his lifetime. Degas was Lion Attacking a Horse (1770) George more concerned with movement in his Stubbs, oil on canvas, 38 x 49 1/2", Yale works than with color. In his paintings University Art Gallery. This painting wasand pastel drawings of horses, the horses painted after he witnessed a similar sceneseem so very much alive that it is as happening in North Africa. The Sporting though someone just captured them in Magazine (1808) describes the killing of a photographs. white Barbary horse by a lion that George Stubbs (1724-1806). Stubbs was emerged by moonlight from distant cliffs born in Liverpool, England, and first to stalk its prey. We find real excitement made his living as a portrait painter. coming from this painting, and we can Stubbs published his Anatomy of the Horse observe beauty in the form of the white in 1766, which is based on a detailed horse set against the dark landscape. study of dissected carcasses. In 1806, in Race Horses (ca. 1873-1875) Edgar Degas, London, he gained the reputation of a pastel on cardboard, 22 5/8 x 25 3/4", Thepainter of sporting pictures. He is espe- Cleveland Museum of Art. It is interest- cially known for his smoothly finished ing to note that Race Horses was not all likenesses of horses. Stubbs painted done on site. After making the sketches works of the happy world of country life, on the scene, Degas used a wooden horse good breeding of both human and as a model hack at his studio to complete animal, and sporting pursuits that were a

C-52 145 LESSON SIX reflection of the golden age of the English A. C. Ritchie (Introduction), K. B. Nielson aristocracy. (Commentaries), Selected Paintings and Sculpture from the Yale University Art Henry 0. Tanner (1859-1937). Tanner Gallery (New Haven, CT: Yale University was born in Pittsburgh, Pennsylvania, the Press, #49). son of Benjamin Tucker Tanner, a highly respected bishop of the African Methodist Shorewood Collection Artists' Biographies for Church. At the age of 13, he became Art (Reference Guide) (Sandy Hook, CT: interested in painting. Tanner's early Shorewood Fine Art Reproductions, pictures included landscapes and sea- 1985), pp. 20, 69. scapes and small sculptures of the J. Sunderland, Painting in Britain: 1525- animals in the Philadelphia Zoo. Tanner 1975 (New York: New York University entered the Pennsylvania Academy of Press, 1976), p. 244. Fine Arts at the age of 21, and there he studied under and became friends with A. Terrasse, Degas (New York: Chartwell the artist Thomas Eakins. A portrait of House, 1982), pp. 12, 13, 45, 54-55. Tanner by Eakins is owned by the Penn- Films/Videos sylvania Academy of Fine Arts. Collecting America: Folk Art and the Bibliography Shelburne Museum (Washington, D. C., Books National Gallery of Art). P. Ferrero of al., Hearts and Hands: The Influence of Women and Quilts on American Quilts in Women's Lives (Pat Ferrero, Society. (San Francisco: Quilt Digest Press,producer). New Day Films, 1987). 22 Riverview Drive, Wayne, NJ E. Goldstein et al., "Let's Get Lost in a 07470-3191. Painting: The Peaceable Kingdom." Under- standing and Creating Art, Bk. 2 (Dallas: Garrard Publishing Co.), pp. 3-48.

C. Klamkin, Weather Vanes: The History, Design and Manufacture of American Folk Art (New York: Hawthorne Books, 1973), pp. 2-7.

J. Lipman and A. Winchester, The Flower- ing of American Folk Art (1776-1876) (New York: Viking Press in cooperation with the Whitney Museum of American Art, 1974), pp. 8-10, 56, 66, 74-77, 94, 99.

F. Miele, moderator, "Folk, or Art? A Symposium." Antiques vol. 135 (January 1989), pp. 272-287. i,i

C-53 Lesson Writers Donna C. Bongiorni is currently teaching grades five and six at the Abraham Baldwin Middle School in Guilford, Connecticut. She taught grades six, seven, and eight in Guilford for ten years and has had sixteen years' teaching experi-

ence. She received Honorable Mention for her lesson plan on Calligraphy T.? Menus through the Celebration of Excellence 1989 Awards Program, which is a salute to Connecticut Public School teachers. Hildegard Cummings has been Curator of Education at The William Benton Museum of Art, University of Connecticut (Connecticut's State Art Museum) for fifteen years. She has taught at the high school and college levels. She is Museum Educator of the Year, CAEA, 1989-1990, and is on the Connecticut Humanities Council, state committee of the National Endowment for the Humanities. Donna Fitzgerald is a teacher and the art department chair at Arthur H. Il ling Junior High School in Manchester, Connecticut. Her awards and special recognition include: Eastern Regional Secondary Art Educator of the Year, NAEA, 1988; Connecticut Art Educator of the Year, NAEA, 1986; Art Educator of the Year, CAEA, 1985; Manchester Teacher of the Year, 1986.

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A / lildegard Cummings, Donna Bongiorni, and Donna Fitzgerald

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7-.7-777 fr'T-ZrfZW . Acknowledgments The authors and publisher would like to thank the following museums, collections, and private individuals by whose permission the illustrations are reproduced. The page number(s) on which the artwork appears is in parentheses at the end of each entry.

Jan van Eyck, Giovanni Arnolfini and His Bride, National Gallery of Art, London, England (pp. C-3, C-28).

Albrecht Direr, Joachim and Anna at the Golden Gate, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (p. C-5).

Marcantonio Raimondi, Meeting of Joachim and Anna at the Golden Gate, Sterling and Francine Clark Art institute, Williamstown, Massachusetts (p. C-5).

Goli Mask, The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, bequest of Nelson A. Rockefeller, 1979. (1979.206.112), (p. C-7).

Goli Mask (doubtful authenticity), The Metropolitan Museum of Art, The Michael C. Rockefeller Memorial Collection, bequest of Nelson A. Rockefeller, 1979. (1979.206.322), (p. C-7).

Red Grooms, Lorna Doone (detail), Courtesy of Brooke Alexander Editions, New York (p. C-12).

Mary Cassatt, Feeding the Ducks, The Metropolitan Museum of Art, bequest of Mrs. H. 0. Havemeyer, 1929. The H. 0. Havemeyer Collection. (29.107.100), (p. C-15).

Eliot Elisofon, Bainana People, Antelope Headdress, National Museum of African Art, Eliot Elisofon Archives, Smithsonian Institution (p. C-21).

Chi Wara Headdress, The William Benton Museum of Art, The University of Connecticut, gift of Friends of the Museum of Art (p. C-22).

Edward Hicks, Peaceable Kingdom, The National Gallery of Art, Washington, D.C., gift of Edgar William and Bernice Chrysler Garbisch (p. C-30).

Kollwitz, Das Warten (The Waiting), The William I3enton Museum of Art, The University of Connecticut, gift of Dr. Walter Landauer (p. C-35).

Chiang Xiong, Story Cloth, Wadsworth Atheneum, Hartford, Connecticut, Florence Paull Berger Fund (p. C-36).

C-55 148 Edward Hicks, The Cornell Farm, National Gallery of Art, Washington, D.C., gift of Edgar William and Bernice Chrysler Garbisch (p. C-41).

George Stubbs, Lion Attacking a Horse, Yale University Art Gallery; gift of the Yale University Art Gallery Associates (p. C-42).

Edgar Degas, Race Horses, The Cleveland Museum of Art, bequest of Leonard C. Hanna, Jr., 58.27. (p. C-42).

Henry 0. Tanner, The Banjo Lesson, Hampton University Museum, Hampton, Virginia (p. C-43).

D. Morrill, Minstrel Banjo Player, Wadsworth Atheneum, Hartford, Connecticut, The Ella Gallup Sumner and Mary Catlin Sumner Collection (p. C-44).

Angel Gabriel Weathervane, Index of American Design, National Gallery of Art, Washington, D.C. (p. C-49).

Nicholas Amantea, Indian Weathervane, Index of American Design, National Gallery of Art, Washington, D.C. (p. C-51). MANY WAYS OFSEEING

UNIT EVALUATION The Getty Center for Education in the Arts isinterested in your opinions about this unit, your experiences teaching it,and/or its usefulness to you in creating your own DBAE curriculum. Pleasefill out this questionnaire and return it to the Getty Center at theaddress below.

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The Getty Center for Education in the Arts 401 Wilshire Boulevard, Suite 950 Santa Monica, CA 90401-1455 1 Thank you. This middle school unit is organized on the theme of Celebration! It investigates how different cultures use art for common purposes, such as the commemoration of special events, celebrations, and the validation of human experience. For example, students compare and contrast two well-known paintings on a wedding theme, they study Eskimo masks used for religious celebrations, and they view works by contemporary American artists such as Jasper Johns. In one lesson students analyze the collage methods of Romare rearden and apply this learning in their own collage creations. In another lesson they learn about Christo's environmental works and create a celebratory environment in a school room.

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THIS UNIT IS INTENDED TO BE Lesson Topics PART OF A BASIC REQUIRED 1. Looking for a Good Time. Works of MIDDLE SCHOOL OR JUNIOR art express and commemorate special HIGH SCHOOL ART COURSE events (1 session). ORGANIZED ON THE THEME, 2. Organizing a Memory. Create a "HOW PEOPLE USE ART." Other collage of celebration (3 sessions). units might include studying 3. Wrap a Room. The arts vivify drawing, graphic arts, applied design, experience (2-4 sessions). and environmental design in relation to this or a similar universal theme. It 4. Put Your Best Face Forward. Masks is intended for middle school as an expression of human celebration students who have been in elemen- (4 sessions). tary art programs that have provided 5. Celebrate You! Paint a personal The theme basic discipline-based instruction expression (3-4 sessions). "Celebrations" was chosen because it offers derived from the four art disciplines. Note: It is recommended that the lessons great opportunities to The classes would meet three to five draw out the follow the sequence as written. Lesson 1 lays times per week for 40-minute to 1- commonalities in the groundwork for later lessons and activities diverse cultural groups. hour sessions for 18 weeks. from Lesson 1 can be inter-spersed throughout the unit. Lessons 2 through 5 can alternate with ones that teach particular skills if the teacher wishes more flexibility.

Pieter Bruegel,Peasant Wedding,Kunsthistorisches Museum, Vienna.

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Works of art express ideas and Objectives feelings and commemorate special The student will: events. 1. Appreciate how varied forms of art express common themes and ideas Focus across cultures. (Art History [AH]) Art is an integral part of traditional and personal celebrations, although 2. Compare and contrast similarities varied in materials, symbols, forms, and differences in the forms of and themes. celebratory art of various cultures. (AH, Art Criticism [AC])

Materials 1. Collect small reproductions of artworks, such as museum postcards, clippings from magazines, and so forth, depicting celebrations, objects used in celebrations, and symbols of ritual or ceremony. Sources such as National Geographic, travel magazines, and many art magazines will yield numerous examples. When possible, collect written informationthat explains the purposes and meanings behind the celebrations. 2. You might wish to organize materials and clippings in file folders according to various celebration topics or mix them and see if students can sort them out according to theme (e.g., wedding, funeral, 4th of July, etc.). Preparation 1. In your collection of images include a variety of the themes of celebration. For example:

Birth/Death/Coming of Age Love/Marriage/ Nurturing Religion/Spirituality/Rituals Victory / Defeat /Esteem 2. Include a variety of manifestations of celebrations. For example:

Ceremonies/Processions/Parades Feasts/Parties/Reunions Games/Movement/Dance Decorations/Colors/Symbols 3. Include a variety of time periods and cultures.

D-4 15:1 LESSON ONE cMTXT,fral Celekatiolit: 3. Choose works for an exhibit and celebrations of victory in the hunt and defend choices. (AC, Aesthetics REDJasper Johns's Flag Series connect us as human beings in our attempt to, Schedule remember and affirm the richness of 1 session life. These momentsthe ordinary Vocabulary made extraordinaryare humanity's Artifact, depiction, theme, culture, celebrations. commemorate, aesthetic (see People within cultures celebrate their Glossary) We chose to include a traditions: the values, beliefs, and variety of cultural Note: See a list of artworks on the theme ideas that they hold sacred. All treatments of celebrationsWestern of celebration at the end of the unit. peoples of the earth mark transitions European /Asian/ of life and time with ceremony, ritual, African /Native Every culture has demonstrated a and celebration: birth, coming of age, Americanto need to set apart from everyday life demonstrate the marriage, death, harvest and renewal, some moments or events as being universality of this and seasonal changes. Celebrations theme. special. From prehistory we have reinforce connections among people examples of people using art to by symbolizing tribal, national, or crystalize these experiences and spiritual unity. events. The cave painters' visual

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George Segal, The Dancers, 1971/1982, The National Gallery of Art, Washington, D.C.

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Activity 5. Students can select and hang an "exhibition" of several reproductions 1. Give each student a visual as he or to convey the idea of celebration. she enters the classroom. Consider themes that link these 2. Have each student identify from works of art together and decide on the visual given to him or her what appropriate titles for the exhibition. theme of celebration it depicts. Expand this activity by having (Brainstorm on the word celebration.) students write "museum labels" or We have developed prepare a catalogue for the exhibit. activities in which 3. Select two to six art reproductions content derived from that will provide comparisons of Evaluation the art disciplines is celebrations. Discuss: What do both/ integrated. Some 1. Can students identify a theme activities emphasize one all of them have in common? How illustrated by twc or three visuals? or more of the art does each work of art differ from the disciplines. Ask each team to select several other(s)? Refer to three works selected visuals that exemplify one theme. for this lesson. 2. Play Reversible Critic with one of 4. Choose and distribute reproductions the artworks. Spend 15 (or 30 or 60) that illustrate at least four different seconds describing and pointing out cultures' interpretations of celebra- in an artwork why you like it and tions. Have small teams of students then 15 (or 30 or 60) seconds why you discuss how visuals can be grouped do not like it. Insist that students and report briefly to the whole class justify their remarks by direct their rationale for grouping. reference to the artwork.

Evaluation strategies can sometimes be in a galne format.

Unknown Folk Artist,The QuiltingParty, Abby Aldrich Rockefeller Folk Art Center, Williamsburg, Virginia. D-6 155 LESSON ONE

Note: The Reversible Critic activity can culture, time period, purpose, be focused on any aspect of artworks that kinds of a-...tivities, and types of the teacher chooses. Students might be people as well as the ways in which asked to focus not only on what tact/ like, the artists communicated ideas and but on aspects of a work that contribute tofeelings. Observe the quality of or detract from its unity, quality as a students' participation in discussion, work of art, emotional effect, and so forth. their questions as well as their In each case, the teacher should comments. demonstrate and model the procedure for We had the students 4. Survey the students' exhibition make a bulletin board the class. with them to appraise its effects. display using their small reproductions 3. Use up to one full period and brainstorm topics. discussing slides that relate to the This display became a celebration theme according to the resource during the rest of the celebration unit.

Jacob Lawrence, Parade, 1960, Hirshhorn Museum and Sculpture Garden, Smithsonian Institute, Washington, D.C.

156 Organizing a memory

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Create a collage of celebration. weddings, parades, birthdays, family This lesson complements the reunions, and victories. Artists have preceding one. always been interested in the depiction of celebrations. Discuss Focus different kinds of celebrations; look at In art we find various themes selected artworks and see how each centering on celebrations, such as one expresses the celebration theme.

Materials 1. Reproductions of the following: Peasant Wedding by Pieter Bruegel Giovanni Arnolfini and His Bride by Jan van Eyck Any collage by Romare Bearden 2. Handout for students of Bearden's method (optional). 3. Videos, filmstrips, and slides to enrich the concepts of the lesson. We found that preselected pictures 4. For art production: helped focus the students on the magazines for collage (precut several dozen magazine images to direction of the activity. save class time); scissors, glue, 12 x 18 in. paper; (optional) tempera paints, acrylic paints, colored markers, oil pastels. Preparation 1. Organize the art reproductions for display and/or instruction. 2. Audiovisual equipment as required. 3. Organize art production materials. 4. Read background materials. 5. Copy Bearden's method on chalkboard or student handout (optional).

I 5 7 :14

LESSON TWO

Objectives Artists' BiographiesInformation The student will: for Teachers 1. Demonstrate that ideas for the Pieter Bruegel (c. 1525-69) was one of the greatest of the Flemish painters. He creation of art can be developed traveled to Italy and was impressed with spontaneously or deliberately and Renaissance art and the different can come from viewing other artists' landscape. His earliest works reveal the influence of Bosch. Symbolic content and work. (AE, Art Production [API) allegories appear throughout Bruegel's work: Peasant Wedding makes a comment 2. Create a collage on a celebration on gluttony. But Bruegel did not merely theme using ideas from Romare comment on the vices of common people, Bearden's collage methods. (AP) he also glorified the simple life of the country. In paintings such as Winter: 3. Analyze two paintings, noting Hunters in the Snow and The Harvester, the power and control of nature become the artists' materials, composition, subject or theme. symbolism, and expression of Jan van Eyck (1385-1441) was born in wedding celebrations. (AC) Flanders and traveled widely as court painter to the Duke of Burgundy before Schedule settling in Bruges. Van Eyck's major 3 sessions work, the Ghent Altarpiece, is one of the monuments of Flemish art. He is given Vocabulary credit for developing the oil-painting Celebration, overlapping, Pieter technique. This new painting technique slowed the drying time and allowed Bruegel, Jan van Eyck, Romare artists to work in a more leisurely Bearden manner. In the famous Giovanni Arnolfini

Pieter Bruegel, Peasant Wedding, Kunsthistorisches Museum, Vienna. LESSON TWO

and His Bride, there is representation of there has been some suggestion that he the sacrament of marriage in which each might be one of those witnesses. Van carefully painted object takes on symbolic Eyck's portraits, like the figures of the significance. Many of the details in this religious paintings, are descriptive rather painting are very small and were painted than interpretive in style. Despite the to show an accurate portrayal of the tiny absence of definable qualities, they reveal spaces of Flemish domestic interiors. The the personality of the sitter, thus creating mirror on the far side of the wall shows an image that is enigmatic, but at the two people standing in the doorway. same time mysteriously real. Above the mirror is the Latin inscription that reads, "Jan van Eyck was here," and

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Jan van Eyck, Giovanni Arnolfini and His Bride, National Gallery, London.

D -1 0 BEST COPY AVAILABLE LESSON TWO

Romare Bearden (1919-1989) was a black friends. They seem to vibrate with the artist best known as a master of collage; herhythm of his beloved blues. also painted watercolors and murals, wrote books and songs, and worked with Activity the civil rights movement. Although he 1. Review the concept of celebration. was born in the South, he grew up in New Let students explain: "What is a York, vhere his parents were important civic and social workers in Harlem, and celebration?" "What do people do ata the family knew almost every prominent celebration?" "What celebrations are black American of that time. found in other countries?" Focus the "Rome" wanted to be a cartoonist, but his discussion on one type of celebration: a For convenience we parents sent him to Boston University to wedding. Have the students name the use briefer references become a doctor. Instead, he became the to the title of van school's star pitcher and then played semi-things related to a wedding celebra- Eyck's painting. pro baseball before returning to New Yorktion (gown, cake, rings, flowers, to earn a degree in mathematics. Because music). jobs were scarce in the midst of the Depression, he enrolled at the Art 2. Compare and contrast two artworks Students League, gradually developing his own style: flat painting, shallow space, painted by different artists: Peasant stylized figures, and African design. Wedding by Bruegel (c. 1525-1569), and During World War II he had his first one- Giovanni Arnolfini and His Bride by van man show, and in 1963 he began to work Eyck (1385-1441). These artists came for recognition of black artists. About the from the same region in Europe, but same time, he hit upon the idea of making a collage about black life from magazine painted the pictures approximately 100 photographs. The settings were years apart. recognizable, but Bearden distorted the sizes and shapes. Vibrant, rich color is 3. Guide the students to observe always evident, perhaps because of his carefully and make a comparison of travels in the West Indies. Most of his collages are concerned with the rituals how each artist treated the following and customs of black families and items:

Bruegel van Eyck Social Class peasants wealthy Setting noisy, loud quiet, serene Room Lighting bright dimly lit Marriage Celebration feast contract Theme secular religious Presence of Groom unknown known Presence of Bride seated, in group standing, alone Painting Size large small Brushes Used medium, small very small Presence of Artist visible in painting signature on wall (far right, in black) (Latin inscription: "Jan van Eyck was here")

D-11 i) LESSON TWO i..*P-1,--,---:11C-1-T4 4. Review principles of design, 5. Note these aspects of Bearden's such as movement, balance, and collage method: depth. Both artists created movement a. He begins with rectangles of by the use of light and dark colors color that are the same propor- that keep the viewer's eye moving tion as the picture space. around the canvas. The feeling of depth is achieved by the placement b. He pastes photographs with the and overlapping of objects and expectation of altering them We decided to discuss figures. Choose students to show the later. examples of Bearden's movement experienced as they view work to help the c. He establishes a general layout. students understand the paintings. the activity. d. He defines ideas, superimpos- Note: This is as far as the lesson might ing other materials. proceed during one class period, depending on your instructional pace. e. He balances the composition with emphasis on vertical and Before beginning the activity, review horizontal axis. with the students the procedure for making a collage. The popular and 6. Using Bearden's method, create a successful artist, Romare Bearden, collage that conveys the spirit of a talked about his collage style; the celebration. Illustrations of Bearden's following quote. read to the students, collage style would give a might be helpful before beginning thecontemporary interpretation of this activity. theme. When I begin a work now, I first put down Discuss these methods with students, several rectangles of color some of which, as inasking them to point to evidence of a Rembrandt drawing, are of the same We found to variety of proportions as the canvas. I next might paste them in Bearden's works. Encourage 7 precut rectangles given a photograph, perhaps of a head, in the students to try Bearden's approach in to the students helped general area where I expect a head to be. The their own work. them manipulate and type of photograph does not matter as it will change the color be greatly altered. At this stage, I try only to scheme as they chose. establish the general layout of the composition. When that is accomplished, I attempt even more definite statements, superimposing other materials over those I started with. I try to move up and across the surface in much the same manner as I had done with the torn papers, avoiding deep diagonal thrusts and the kind of arabesque shapes favored by the great baroque painters. Slanting directions I regard as tilted rectangles, and I try to find sonic compensating balance for these relative to the horizontal and vertical axis of the canvas (Learning to Look and Create: THE SPECTRA PROGRAM, level 4).

D-12

- LESSON TWO

Evaluation c. Do students appear to be learn- 1. Ask students to write a brief ing how to "unwrap the mean- paragraph discussing symbols and ing" in works of art? meanings in their choice of van Extensions Eyck's Arnoifini Wedding or Bruegel's 1. After they have studied historical Peasant Wedding. Assess students' material about Bruegel's Peasant apparent ability to interpret meaning Wedding, have a few students role- and decipher symbols as discussed in play a reporter interviewing a guest class. attending the wedding. Encourage 2. Display students' collages and them to use their imaginations in observe each student's resolution of developing questions that the the expressive assignment. Did each reporter might ask. student: 2. Speculate with students how they a. complete the collage assign- think van Eyck and Bruegel might ment? have responded to Bearden's collages. How might they respond to the b. convey the theme of celebration? students' collages? c. exhibit knowledge of composi- 3. Provide a set of reproductions of The Reversible Critic tion principles previously paintings by van Eyck, Bruegel, and a game, introduced in taught? Lesson 1, worked well few paintings by artists of their times. here. d. utilize ideas from Bearden's Challenge students to pick out the method of making collages? works by each artic' Can they differentiate between van Eyck's and 3. Through class discussion of the van Bruegel's? Can they pick paintings Eyck and Bruegel paintings and/or that are by neither? You can control other artworks used with this lesson, the difficulty of this activity by your ascertain the general level of abilities selection of the reproductions. students appear to have developed with respect to understanding, interpreting, and appreciating works of art: a. Do students appear to enjoy learning about these works and talking about them?

b. Do students interact with each other as they discuss art? Do they differ on some points? Are they able to provide reasons for their views? Can they engage in cordial discussion even when 162 they disagree?

D-13 LESSON Wrapa room 3 THR EE

The arts vivify experience. textiles as a means to enhance aesthetic experience in connection Focus with celebrations. People celebrate by transforming an environment from something Objectives ordinary into something The student will: extraordinarily special, such as a 1. Learn about a contemporary artist wedding, shower, birthday party, named Christo, who is part of a group holiday, or sports event. The arts are of "environmental" artists who began used to make experience more vivid, in the 1960s to change from such as through use of lights, traditional mode's of expression in art streamers, banners, flags, tablecloths to dramatizations of ideas or and decorations, confetti, and the like.concepts. (AH, AE) Introduce how artists have used

Materials 1. Art reproductions, including the following: example of tie-dyed fabric, photographs, drawings, paintings, videos or films of any of Christo's works (such as Valley Curtain, Surrounded Islands, or Running Fence). Use

Jar the video, Christo's Island, if available (see Bibliography). 2. For the art production activity: cheesecloth, thin muslin, or old sheeting (cotton, natural fibers); commercial dyes available in markets, rubber bands and string, sticks, marbles or buttons and small stones, dye containers, lots of inexpensive plastic gloves. Preparation 1. Review the materials on Christo and his work. 2. Plan instruction and evaluation activities. 3. Note safety precautions when using dyes; for example, do not us,s dyes formulated with lead, and use special care with Procion dyes, if used. Take care with powdered dyes to avoid ingestion.

D-14 1 6 :I

. LESSONT HREE

2. Use resist techniques to dye fabrics Public Art and really requires interaction and cooperation wherever he is currently and produce visual textures. The working. Also, his projects are entirely student will experience the tactile andsupported by the sale of the drawings he manipulative quality of materials in makes of them, before and after completion. A video, Valley Curtain, the process of creating an example of documents one of his early Large projects; environmental art. (AP) C risto's Island is about one of his later ones. 3. Respond imaginatively to what the Note: Recall how Christo uses a group of artist has expressed. (AC) Sometimes the choice people to execute his work. Ask and of images zvill 4. Learn how conceptual art, while debate the aesthetics question: Is this a suggest a topic for a initially very different to the student, valid way to produce art? discussion of shows an interrelationship between aesthetic issues. the artists' world and the real Activity world. (AE) 1. Looking at Christo's preliminary drawings and photographs of Schedule Surrounded Islands and Running Fence 4 sessions may cause students to ask, "What Vocabulary makes this art?" Encourage debate on Christo, tie-dye, resist, environmentalthis enduring issue. art, conceptual art 2. Christo's pieces are environmental Artists' BiographiesInformation works in which the artist uses land, for Teachers water, fabric, and engineering and environmental skills instead of Christo, born Christo Javacheff in Bulgaria in 1935, was part of a group of traditional art media. But scale, shape, French artists called new realists. They form, and color were concerns of the reacted to modern consumerism and artist as in any other artwork. waste. He began by wrapping objects, such as bottles and cans, and proceeded Students may wonder what ideas and to monuments, buildings, and part of the meaning Christo was trying to Australian coast. Running Fence, done in convey. (Reading about the work and northern California in 1976, and Surrounded Islands, done in Florida in the artist is recommended.) The idea 1980, are recent events in a series of of changing an environment to make projects that used fabric to transform an it more "special" can then be environment by wrapping or "curtaining." Christo said, "1 look for the introduced to the students. self-willed beauty of the impermanent." He conceives the idea and directs the 3. Most students will enjoy the art of execution of the work, which sometimes tie-dyeing. It has been practiced for involves hundreds of people working centuries in many parts of the world. together. Other components of the work are the drawings and photographs of it, Try to show photos or real examples which he sells to finance his projects. of dyed fabric. South America, India, Background Note: Christo's is a Japan, China, and West Africa are collaborative art. He depends on his wife, sources of many beautiful fabrics in Jeanne-Claude, and a whole team of this tradition. organizers to coordinate and do public relations for him, because his work is luorromomr D-15 164 LESSON T HREE ,w ) rash ()In,4. Supervise students as they pre- want to utilize the transparency of the pare, dye, and hang the fabric to dry. fabrics in front of the windows or lights, or the softness in the draping, 5. Students should experiment on or the shapes that can be made, and small pieces of cloth. The material is so forth. Visualization, problem wrapped very tightly with string or solving, and working together will be rubber bands so that when the cloth is important. Remind them that there dipped in dye, the tightly gathered are many ways to solve a problem places will resist the dye and form a This can turn into a and they are looking for a total, real happening, a pattern. Several techniques can be unified effect. culmination of manyshown: a marble secured in the fabric elements. Plan for such celebratory eveitts.by a rubber band forms a circle, when7. When the room is complete, invite the cloth is pleated and tied in severalothers to visit, have a party, and pho- places stripes will appear, and a stick tograph the new-made environment! inside a long point of cloth tied Evaluation several times causes a bull's-eye to 1. Use the pretest and posttest form. Other types of foldings, method to determine learning. Ask bunching, and pleating call be tried. the first three questions below The cloth is then dipped in the dye verbally before the activity takes (mix according to directions, with less place. Ask all five questions, in water for stronger color) in various written form, after the activity, ways, by sections, in different colors, perhaps as a take-home quiz. or whole. Rinse until no more dye Referring to a Christo or another comes out, and allow to drip for a environmental wo,K,ask: short time. Then the strings and rubber bands can be removed, and a. What do you think the artist the fabric can 'ue hung to dry. Further was trying to say? dyeing may follow. b. Can anideabe art? 6. Decorating a room or area for a c.Is it art if it doesn't last? special event or to celebrate art and life then becomes the intent of the d. Can party decoration be art? group. Fabric will become the Describe in writing and/or medium and the classroom the sketches choosing a holiday or environment. The students should theme such as Halloween, consider celebrations that use tents, victory dance, baby shower, canopies, maypoles, thrones, and so on. processions, or curtains. They should e. What about our changed inte- look at the room and plan and rior environment, is it art? engineer the hanging, suspending, What about our drawings and and supporting of the fabric in the paintings? What would we room. They could be divided into have to do to make the room groups of four to be responsible for interior a work of art? just one area or section. Some may

D-16

AS2r-.4.;'

: LESSON T HREE

2. An art criticism evaluation check- vessels, and eating utensils. list adapted from an article by PatriciaNote: Use judgment and preview the Hollingsworth in School Arts, April images from the book before sharing with 1987 can be found on page D-17. Havestudents. students complete the checklist in 2. Design an environment for a relation to Christo's work and their celebration in a "peepbox" (shoebox own, as they finish thetie-dye with lightholes and an eyehole for activity. viewing), using found objects, fabric, and the like. As evidence that the 3. Evaluate students' knowledge of students had come a Christ() and other artists they have 3. Add sound to a celebration long wall, some studied in the lesson. environment by making noisemakers checked both "yes" or musical instruments. and "no" and were Extensions able to back up their 1. Design an environment for a 4. Research other celebration plans, statements, as this celebration, as in The Dinner Party by such as the one Leonardo da Vinci unit was field tested. Judy Chicago, with tablecloths, made for rulers in Renaissance Italy. napkins, ceramic plates and drinking

Art Criticism Checklist a. The artist is trying toimitate nature. Yes No b. The artist is trying to express a feeling oremotion. Yes No c.Does.the name of the work tell you anythingabout the meaning of the work? Yes No d. Choose words that describe the meaningof the work: Strength Fear Hope Anger Hate Mystery Fun Cooperation Life Death F oauty of nature One's relation to nature Interest in color Art doesn't have to last Love Madness Excitement Courage Horror Concern for the environment

BEST COPYAVAILABLE 1. 6 8 Putyourbest face forward

FOUR Masks as an expression of human Objectives celebration. The student will:

Focus 1. Use mixed media to create a mask, Masks are objects artists have madeastransforming two-dimensional design part of celebrations or religious into a three-dimensional form. (AP) ceremonies. Masks are used within many cultures. They offer evidence of2. Make connections between varying theories of beauty and the expressive qualities of masks from different purposes of art. different cultures. (AC, AH)

Materials 1. Reproductions of the following: Asymmetrical MaskEskimo MaskChokwe, Angola, Africa Finger MasksArctic Eskimo Dance MaskNew Britain Other masks from these and other cultures

2. For the mask-making activity: sketchingpaper and pencils, wax crayons, large sheet of brown kraftpaper, white chalk and soft eraser, India ink, small pieces of soft rags or tissue, wire, threador string, pieces of basket reed, feathers, leather, yarn, beads, raffia,and other materials that will be useful for creation of masks. Clay foralternate activity. Preparation 1. Read background materials and learnas much about masks from various cultures as possible for lesson preparation.

2. Prepare audiovisual presentationson masks, such as slides, filmstrips, or videos available commercially.

3. Ask students to help you collect the longlist of materials for this lesson. Ask them at least a week in advanceso you can obtain a large pool of resource materials.

D-18 1 LESSON FOUR -hvic 3. Learn that concepts of beauty differ masks, a much different connotation .0 e 1 e,12;1' comes to mind. Masks are a part of among individuals and cultures. (AE) special events: Halloween, Mardi Gras, plays, masquerade parties, dances, Schedule parades. Most cultures, past and present, 4 sessions use masks for special ceremonies and celebrations. Vocabulary Some cultures use masks in spiritual or Masks, function, expressive, religious rituals to illustrate a powerful exaggeration, distortion connection with nature or to pass traditions from one generation to the Focusing on one area Background next. Some celebrations call for masks to only, such as Africa, No one knows what first prompted disguise individuals so that they can also works for this people to wear masks, but today we wearportray an idea or character more clearly lesson. masks for many purposes. Welders, or simply to be freer in participating in divers, and sports participants wear party behavior. masks to protect themselves froinjury. Doctors wear masks against the spread ofThe most common function of masks may germs. People use masks in facial be to connect people by transforming treatments. Ski masks are used for both human identity into symbolic, expressive warmth and protection. The media show forms that everyone in a celebration or us examples of masks hiding the identity drama can "read." Some cultures, of both criminals and crime fighters. however, believe the mask to have a "magic" that connects human beings to Despite all these examples of functional the spirit world. These masks may be masks, usually when we say the word used in ceremonies and festivals as face

Qa4

Asymmetrical Mask, Eskimo, The Saint Louis Art Museum.

D-19 168 LESSON FOUR

coverings, body coverings, handheld Invite students to react to the objects, small totems, and ornaments, or _AA expressiveness of the masks by they may be masks that are used as sacreddescribing how the shape of the eyes objects and kept out of the public eye. (or the mouth) in each conveys a Activity specific feeling. List words (such as 1. Analysis and discussion of the fear, surprise, calm, shy) in relation to visuals. each mask. Start by describing and interpreting Initiate discussion of cultural and the design elements and symbols on the aesthetic valuing by asking which African mask. Compare these to each ofmask is "beautiful" and why. Ask: the other masks. Ask questions relating "Did the maker intend it to be to the facial features stressed, treatment beautiful or is that just the viewer's of surface, materials used, and interpretation?" (Is beauty the same organization or symmetry. in every culture?) Stress logical

Mask, Chokwe people, Angola, Africa, The Detroit Institute of Arts.

D-20 1 6 .3 LESSON FOUR references (i.e., function, cultural large grocery bag), using light-colored context) as well as personal chalk that can be erased and adjusted. preference. Develop ideas regarding Refer to a chosen color scheme. the purpose of the masks by Begin coloring heavily with wax classifying according to a depiction/ crayons, pressing hard to build up disguise/decoration function. both wax and color. Decide if all areas must be colored in or merely outlined 2. Ask students to use the library to with color bands. Antique and research the forms of masks in a texturize crayon design by crumpling Although we purposely particular culture and report briefly eliminated death masks the kraft paper to create wrinkles and (orally) to the class. and coffin coverings as cracks in the surface. Wet and brush objects study, they 3. Discuss, as a class, the question, with India ink to stain cracks. Let dry. are rich in decorative, expressive possibilities. "Should a mask be considered art?" IfPolish all crayon areas to a high sheen,From the realism of the discussion stalls, ask students to using tissues. Egyptian-Roman death consider that the Kairak Baining mask portraits to 6. Construct a wire or reed frameworkTutankamen's coffin to destroy dance masks after their initial to transform this two-dimensional effigy urns, there are use: "Should it be considered art if it evocative connections. design into a three-dimensional one. is not meant to be kept and This might be done by folding or displayed?" "hemming" the edges of the crayon 4. Art production activity: Guide batik design and inserting wire that students to create crayon, batik/reed-then can be bent or formed. Encourage framed masks. extensions or additions to the mask outward from the original facial Note: Recall with students that formal design. Stitchery, decorative wrapping symmetry is usually very stiff, so artists and tying, feathers, beads, raffia, and use it to express dignity and stability. leather could be used to adorn and Unless they want those qualities, they The mask-making integrate the reed/wire structure and techniques, such as should not choose formal balance for their the facial design. papier nuiche, plaster own mask because it can be predictable, casting, and plaster- dull, or boring. Approximate symmetry Alternative Activity impregnated bandage, were deliberately not is almost like our faces, where small Decorative Clay Masks chosen here because of differences exist between the two sides. Roll clay slabs 1 /4 to 1 /2 inch middleschooles' thickness. Form mask by cutting preoccupation with 5. After choosing a theme, direct representational forms. exterior shape. Pierce for facial details, students to design a mask, trying It was thought that texturize areas or features by pressing more potential for different arrangements, distortions, in a variety of tools or found objects. exaggeration and and exaggerations of features to show exploration would come Folding over, braiding edge pieces, or feelings (six thumbnail sketches). from combining two adding three-dimensional extensions more familiar materials. Choose a color scheme to express the (use slip!) are encouraged. Pressing feelings portrayed by the mask and soft clay through a screen or a garlic color two or three selected thumbnail press creates hair. Piercing with a sketches. Enlarge the best mask onto plastic drinking straw will leave brown kraft paper (or one side of a uniform holes to which raffia, yarn,

D-21 1 LESSON FOUR

Celkb rati 02..g beads, and other such materials could 4. Look for skillful, expressive work in be added after firing as well as allowingthe masks. for hanging. Extensions Allow to dry, slumped over a section of1. Make a display of masks, or pictures cardboard carpet tube or other paper- of persons wearing masks, and covered form. Fire and decorate with organize it according to functional/ underglaze colors, glazes, or antique celebratory. with rubbed-in stains. Painting of 2. Create a dance, poem, or ceremony bisqueware would be an additional that features your mask. option. 3. Debate this problem: the Arctic Evaluation Eskimo Finger Masks were originally 1. Comment during and following pro- trimmed in fur. Is it okay to exhibit duction on choices of materials, colors, them today without it? Should it be symbols, balance, and finish as related to replaced? Why or why not? Support effectiveness of expression. your position. 2. Have students write descriptions for 4. Create a series of slides of design their own masks. Challenge classmates to motifs (symmetrical and asymmet- match description paragraph to each mask. rical) and project them onto the faces 3. Ask students to list as many kinds of of willing students. masks and uses for masks as possible.

Finger Masks,Eskimo, The Detroit Institute of Arts. 1

D-22 LESSON FOUR

Masks Arctic Eskimo Chokwe IChok-'.aryl, Angola, Africa Finger Masks, nineteenth century, wood, Mask (Mwana Pwo), early nineteenth (4 1/2 x 3 1/8 in. x 5/8 in.), gift of century, wood, hemp, (8 x 6 in.), The Frederick Stearns, The Detroit Institute of Detroit Institute of Arts. Arts. Used in ceremonies that included Eskimo masks vary greatly in size. While masquerading, dancing, and reenactment some masks were so large that they were of important events, this mask by the suspended from the ceiling, and others Chokwe people is known as Mwana Pwo small enough to be worn on the forehead, and depicts human feminine features. these masks were not worn on the face at The exaggerated and highly arched all. These miniature copies of face masks eyebrows, the elongated nose, and the are actually worn in pairs, one on each markings on the face (indicating hand, by the women of the Arctic Eskimo. traditional tattoos worn by women) showWhile the men dance, women perform at standards of beauty appreciated by the various festivals. Chokwe people. Male dancers wore these Made in human or animal fF.ce shapes, masks to re-create fables that pointed at these carved driftwood pieces are subtly weaknesses of the opposite sex. colored by rubbing in natural pigments The elegant oval forms of the arched with a cloth or finger. Usually they were eyebrows, slitted eyes, and open mouth trimmed with caribou fur or quills, characterize female beauty in an although these decorative elements have abstracted and idealized form. The been lost from these particular masks. expression of the face conveys an [From The Detroit Institute of Arts, Family aloofness (cool) instead of a specific Art Game. (Detroit: DIA, 1987).] human emotion. [From The Detroit Institute of Arts, Family Art Game. (Detroit: DIA, 1987).] Kairak Baining 1 Kai-rak Bai-ningl, New Britain, Melanesia Dance Mask, late nineteenth century, barkcloth and reed, The Saint Louis Art Museum. This mask, worn by the Kairak Baining people of New Britain Island in the St ,uth Pacific, is thought to represent an owl. Such masks are used in dances to give protection to the children of the village. It is made of barkcloth stretched over a reed structure. The contrasting colors used as surface decoration were made from red roots and black charcoal. Exaggeration and distortion of natural forms such as birds are often used in the art of Melanesia. This mask, with the round staring eyes and protruding chin, has an openly emotional, anxious quality. Dance Mask, New Britain, Baining People, Despite all the skill needed tt, make a The Saint Louis Art Museum. mask such as this, Kairak Baining masks are used only once, then destroyed. A new set of similar masks is created for each year's celebration. [From The Saint Louis Art Museum, Teacher's Guide to Oceanic Art (St. Louis: SLAM, 1975).1

2 Celebrate you

Paint a personal expression. Materials Focus 1. Reproductions of the following: Many years ago, people used pictures Three Flags by Jasper Johns; to communicate ideas. Gradually, Cheyenne Shield, Native American; picture writing evolved into words. and similar works. But a form of picture writing still 2. Materials for students' art exists. Symbols used by artiste production activity: corrugated communicate, inform, express cardboard in rounds and feelings, and serve as the connection rectangles (available in restaurant between the viewer and the visual and cake-decorating supply image. In this lesson, the students will stores), pencils, brushes, glue, learn about symbols used in Native scissors, and acrylic or tempera American and modern pop art and paints. use symbols in a work of celebration and ceremony of their own. Preparation 1. Read background materials and Objectives other resources on the topics of the The students will: lesson. Prepare to use some of the I. Recognize and compare the audio and visual materials on meanings of symbols used in a work Native American art and pop art, of art from a Native American culture such as slides, filmstrips, and and in a work by pop artist Jasper videos. Johns. (AC, AH) 2. Organize materials for the 2. Examine a work of art for its production activity. symbolic meaning. (AC) 3. Prepare for an exhibition of 3. Use symbols in a format, such as a student art products. flag, shield, or banner. (AP) Background Schedule 1. This shield is both a functional and 3 or 4 sessions symbolic object used in ceremony and war by the Cheyenne people. The Vocabulary images, taken from religious symbols, Symbols, Jasper Johns, pop art transformed the shield into a magical

D-24 1 7 :3 LESSON FIVE amulet that protected the warrior in intensity that sometimes makes the Celebrahoid battle. This shield belonged to the warriorviewer conscious of them for the first Little Rock, who fought in the famous time. Three Flags was done by battle against General Custer, who contemporary artist Jasper Johns, who is destroyed the Cheyenne camp in known for tal ing popular images and violation of a treaty. using them as subjects in his art. The United States flag is one he has used Symbols: several times. Its meaning as a national Thunderbird--sacred power of thunder symbol is subordinated to its design and the greatest spirit of all elements, even though the viewer cannot Smaller Birdother powers disassociate the meaning from the image. Crescent Shapemoon This painting is transformed, by its Seven Circlesstars we know as the progressive layering and thick encaustic Pleiades, or the seven sisters texture, into an object of either growing Blue BorderGrandmother Earth, who, or diminishing size, depending on one's according to legend, gave the Indians point of view. corn and the buffalo Redsymbolic color of supernatural Symbols: blessing and life Red courage Black Background (faded)enemies killed, Whitepurity dead coals of an extinguished campfire Bluevigilance, justice Bells, Eagle and Owl Feathers, and Starsunity; the states Cornhusksrelated to the powers of Stripesthe 13 colonies nature, of wind, flight, and earth Succession of Sizes, Layeringopen to interpretation 2. Pop artists have examined everyday objects and images around us with an

des

Shield, Cheyenne, Native American, The Detroit Institute of Arts.

D-25 1 74 LESSON FIVE 'A! _ Celebra Activity Note: Alternative question: "Make an 1. After showing and discussing advertisement for yourself" "If you were examples of work that uses symbols, going to do a video about yourself, what such as the shield and Three Flags, ask would you include?" students to design an object: a flag or 3. Circulate through class during shield in a rouna or rectangular production activity, attempting to format. They should express symbols speak to students individually or in of their culture as the Native small groups. Check for planning and Americans and pop artists did: for development of original ideas and example, family, environment, ethnic symbols: "What's your main idea?" background, school, beliefs, hobbies, "What wc,uid be a good symbol for it?" sports, music, food. "How large do you want to make it?" 2. Ask: "What do you want to celebrate "What colors are you going about yourself?" They may decide on to use?" one dominant theme or express several,4. Take a break from the production and they may also build up layers time to show additional examples of according to importance, as Jasper Native American art and have students Johns did. Have them make preliminarylist all the elements they consider to be sketches. Point out how unified the symbolic. Show other examples of pop Cheyenne Shield and Three Flags are and art and have students check possible emphasize their use of space and meanings from a list, such as fun, balance. Sketch the areas in with pencil, happiness, warmth, everyday life, then paint. Suggest using the pain: L.,t a adventure, glamour, city life, thick, painterly manner. patriotism, religion, family, and the like.

Jasper Johns, Three Flags, Whitney Museum of American Art, New York.

D-26 115 LESSON FIVE

5. During the several days devoted to a. completed their art product art production, you might choose to b. used symbols in their creations assign homework for regular or extra credit. You might have the students c. applied learning from earlier read about and write a short report instruction in composition, draw- on Native American religious beliefs ing. painting, and craftsmanship as expressed in their art or have the d. took pride in their work and its students read about and report on display op art and how it is connected to American culture. Some of these Unit Evaluation could be read in class. 1. Review the artworks that were featured during this unit. Show slides or prints and Extensions elicit discussion from students as a review 1. Make a collage using personal and evaluation of their progress. Do they memorabilia (ticket stubs, box tops, remember the works and their contexts? labels, stamps, pins, ribbons). Unify Are th.).y able to discuss the meanings it, using other collage materials and associated with the works? Do they color to convey mood. appear to have learned what you had 2. Design a personal monogram, intended during the unit? uniting letters with a personal 2. You might wish to ask students to symbol, such as an animal, vegetable, respond on a short-answer quiz sheet as sport motif, and so on. you display various works from the unit, Evaluation or you might ask all students to write a 1. Ask students to discuss an example brief essay about a work of their choice of Native American art that they have from a display of five not seen before. Note if they have or six. learned enough of Native American 3. Do students appear to enjoy their new symbols to decipher some of them. knowledge and abilities? Do they talk 2. Ask students to discuss another of about art outside of class activities? Jasper Johns's works from the same 4. Has the students' inventiveness and period as Three Flags, such as one of the skill improved with instruction and "Map Series" or the "Numeral Series." experience gained in this unit? Does their Note if they seem to be comfortable and work appear to be obviously more knowledgeable in discussing this type developed and mature than the work of of art. students from lower grades? 3. Display the results of the art pro- 5. You might wish to develop a self- duction activity. You might ask students evaluation form for students and ask to write brief comments or phrases about them to respond to it. You might also their pieces for the benefit of viewers. As wish to include opportunities for students you examine each student's artwork, note to suggest improvement; in the unit or in ifstudents: classroom procedures and activities.

D-27 17( LESSON FIVE

BIBLIOGRAPHY G. McDermott, Arrow to the Sun (New "Banner. Years." Horizon 31, no. 4 (May York: Viking Press, 1974). A beautifully illustrated book that shows, symbolically, the 1988). transformation process of a Pueblo Indian Christo's island, Mays les Films, Inc. 290 youth. West 54th Street, New York, NY 10019. M. Musgrave, Ashanti to Zulu: African Detroit Institute of Arts, Fainily Art Game Traditions (New York: Dial Press, 1976). (Detroit: DIA, May 1987). Ceremonies, celebrations, and day-to-day customs of 26 African tribes are described S. Glubok, The Art of the Eskimos (New and magnificently illustrated. York: Harper & Row, 1964). C. Price, Happy Day (New York: UNICEF, J. L. Larson, The Dyers 'Art (New York: 1969). Ways that birthdays, name days, and Van Nostrand Reinhold, 1976). growing days are celebrated around the E. Mullins, The Master Artist (New York: world. Doubleday, 1988 [A novel about Jan van P. Steele, Festivals Around the World Eyck]). (Minneapolis: Dillon Press, 1989). A New York Graphic Society, Biographical picture book describing many different festivals, from a bun festival in Hong Kong to Guide to Major Artists (Dalton: Studley a colorful parade of clowns in West Germany. Press, 1988). A. Van Straalen, The Book of Holidays B. Paxson, African Odyssey: A Book of Around the World (New York: E. P. Exploration and Discovery (St. Joseph, MO: Krasl Art Center, 1988). Dutton, 1936). Presents chronologically at least one event to celebrate each day. Saint Louis Art Museum, Teacher's Guide Celebrations may be national or religious to the Art of the North American Indians holidays, regional or local festivals, or (Saint Louis Resource Center, 1975). birthdays of famous children's writers. Saint Louis Art Museum, Teacher's Guide Celebration Images in Art to Oceanic Art (Saint Louis Resource Center, 1975). Ceremonies, Processions, Parades Bearden, Romare, She-Ba, Wadsworth W. Spies, Christo: Surrounded Islands (New York: Harry N. Abrams, 1985). Atheneum, Hartford, Conn. W. Spies, The Running Fence (New York: Bellows, George Wesley, A Day in June, Harry N. Abrams, 1977). The Detroit Institute of Arts. Botticelli, Sandro, The Birth of Venus, Additional Resources Uffizi Gallery, Florence, Italy. Books That Tell About Traditions Central Asian Musician, Chinese, Tang and Celebrations Dynasty, The Detroit Institute of Arts. J. Chicago, The Complete Dinner Party: The Crite, Allan, Parade on Hammond Street, Dinner Party and Embroidering Our Phillips Collection, Washington, D.C. Heritage (New York: Doubleday, 1981). Diirer, Albrecht, The Four Horsemen, The J. Lasko r, Merry Ever After (New York: Detroit Institute of Arts. Viking Press, 1976). In a style borrowed from illuminated manuscripts and tapestries, Ensor, James, Carnival, Stedelijk Museum, visual information is presented about customs Amsterdam. and preparations for medieval celebration. Epa Cult Mask, Bangboye of Odo-Owa, M. Livingston, Celebrations (Holiday African, The Detroit Institute of Arts. House, 1985). Sixteen poems that sensitively show meaning in the celebration of sixteen Alma-Tadema, Lawrence, English Spring, holidays. The illustrations show a personal J. Paul Getty Museum, Malibu, CA. visualization of these cliclu'd holidays.

D-28 I -1 7 ADDITIONAL RESOURCES

Finger Masks, Arctic Eskimos, The Detroit Davies, Arthur Bowen, Dances, The Institute of Arts. Detroit Institute of Arts. Hassam, Childe, Allies Day, The National Matisse, Henri, Dance (first version), Gallery of Art, Washington, D.C. Museum of Modern Art, New York.

Kahlo, Frida, Frida and Diego Rivera, San Matisse, Henri, DeuxDMISCIII'S,Museum Francisco Museum of Modern Art. of Fine Arts, Boston. Klee, Paul, Girl with Flag, Kunstmuseum, Mount, William Sidney, Rustic Dance Basel, Switzerland. After a Sleigh Ride, Museum of Fine Arts, Boston. Leutze, Emanuel, Washington Crossing the Delaware, Metropolitan Museum of Art, Quoyavema, Riley, Az'aeh Hoy Am New York. Kachinas, Southwest Museum, Los Angeles. Pair of Beakers, Chimu, Peru, Native American, The Detroit Institute of Arts. Shim Nataraja, S.h Indian, Chola Period, The Saint Louis Art Museum. Seated Deity Urn, Zapotec, Native American, The Detroit Institute of Arts. DecoratiolislColors1Syttibols Trumbull, John, The Declaration of Monet, Claude, La Japonaise, Museum of Independence, July 4, 1776, The Saint Louis Fine Arts, Boston. Art Museum. Phillips, David, Clown Figure, Hootkin van Eyck, Jan, Giovanni Arnolfini and his Collection, Milwaukee, Wis. Bride, National Gallery, London. Tiglath-Pileser Ill Receiving Homage, Whistler, James McNeill, Nocturne in Black Assyrian Relief, The Detroit Institute of and Gold: The Falling Rocket, The Detroit Arts. Institute of Arts.

Feasts /Parties /Reunions Beckmann, Max, Masquerade, The Saint Louis Art Museum. Bingham, George Caleb, The lolly Flatboatmen, Terra Museum of American Art, Chicago, Ill. Chagall, Marc, Birthday, Museum of Modern Art, New York. Eskimo Hunting Mask, Arctic Eskimos, Rasmussen Collection, Portland Art Museum. Feast Bowl, North American, Eastern Sioux, The Detroit Institute of Arts. Homer, Winslow, Skating in Central Park, Saint Louis Art Museum. Itcho, Hanabusa, Celebration of the Twelve Months, Museum of Fine Arts, Boston. Schapiro, Miriam, Master of Cerenumies (Final State), School Arts, February 1987.

Games/Movement/Da/we Bruegel, Pieter, Wedding Dance, Delportt., 1 7 b Collection, I3rtissels.

D-29 /,.+.4Anumstv GLOSSARY Symbol: Something that stands for something Abstract Expressionism: A style of eLse, especially a figure, or sign that represents nonrepresentational painting that combines a real object or idea. abstract form and expressionist emotional Theme: The most important idea or subject in value, developed in New York in the 1940s. a work of art, sometimes with a number of Aesthetic: Pertaining to the beautiful, refined, phases or variations. tasteful, and artistic. Tie-Dye: A method of dyeing fabric in which Artifact An object made by humans; certain parts are knotted to create a pattern by especially one of historical interest. preventing absorption of the dye. Celebration: An observation of a day or event with ceremonies of respect, rejoicing, or festivity.

Ceremony: A formal act or set of acts performed as prescribed by custom or ritual. Commemorate: To honor the memory of something in a formal manner.

Culture: The beliefs, customs, arts, and ideas of a group of people at a given time; a society. Depiction: A portrayal by a picture or by words. A representation in a picture or sculpture. Distortion: Changing the way something looks to make it more interesting or meaningful, usually by exaggerating some of its features. Environmental Art An art form related to assemblage and usually employing large elements designed to be moved among or through, rather than merely viewed.

Exaggeration: Increasing or enlarging a figure or feature to communicate ideas and feelings. Expressive: Conveying strong emotional feelings.

Function: The use or purpose for which something exists.

Overlapping: Placement of objects in a picture to create the illusion that one object is in front of another and thus show distance.

Pop Art A style developed in the late 1950s in New York, which derived from commercial art, such as comic strips, packaging, and objects of American culture. Resist: A substance 9iat protects a surface from receiving dyes. 1 7 ;)

D-30

77, In q$4,WAliur Authors Joyce Fent is currently teaching elementary art in the Muskegon Public Schools

in Michigan. She has taught art at all levels over the past 24 years in Michigan .

and Texas. Joyce is a printmaker. . Jane Gilbert was an elementary art teacher for the Flint Community Schools in Michigan. She taught elementary and middle school art in Massachusetts and Michigan for 26 years. Jane was an active leader with the Michigan Art Education Association and served on the Michigan Department of Education Task Force, which prepared the new goals and objectives for arts education. Jane was a printmaker. Her contributions to this project are greatly appreciated. She is missed by her family, friends, students, and colleagues of the Getty Curriculum Development Institute. Barbara Lindquist is currently the K-12 Fine Arts Supervisor for the Grand Rapids Public School in Michigan. Previously, she was the K-12 Coordinator for the Art Department. She has taught elementary and middle school art over the past 12 years and was a member of the Michigan Department of Education Task Force, which prepared the new goals and objectives for arts education.

Jane Gilbert, Joyce Fent, and Barbara Lindquist

D-31

,-71,--4,1,1\!,.-f , Acknowledgments The authors and publisher would like to thank the following museums, collections, and private individuals by whose permission the illustrations are reproduced. The page number on which the artwork appears is in parentheses at the end of each entry.

Pieter Bruegel, Peasant Wedding, Kunsthistorisches Museum, Vienna (pp. D-3, D-9). George Segal, The Dancers, National Gallery of Art, Washington, D.C., gift of the Collectors Committee (p. D-5). Unknown Folk Artist, The Quilting Party, Abby Aldrich Rockefeller Folk Art

Center, Williamsburg, Virginia (p. D-6). r. Jacob Lawrence, Parade, Hirshhorn Museum and Sculpture Garden, Smithso- nian Institution, Gift of Joseph H. Hirshhorn, 1966 (p. D-7).

4P Jan van Eyck, Giovanni Arnolfini and His Bride, National Gallery of Art, London,

4. uR England (p. D-10). Asymmetrical Mask, The Saint Louis Art Museum, Friends Fund Purchase (p. D-19).

Dance Mask, The Saint Louis Art Museum, gift of Morton D. May (p. D-23).

Shield, © 1988, The Detroit Institute of Arts, gift of Detroit Scientific Associa- tion (p. D-25). Jasper Johns, Three Flags, 1958. Encaustic on canvas, 30 7/8 x 45 1/2 inches. Collection of Whitney Museum of American Art, 50th Anniversary Gift of the Gilman Foundation, Inc., The Lauder Foundation, A. Alfred Taubman, an anonymous donor, and :purchase. 80.32 © Jasper Johns/ VAGA, New York, 1991 (p. D-26).

D-32

TAO UNIT EVALUATION The Getty Center for Education in the Arts is interested in your opinions about this unit, your experiences teaching it, and/or its usefulness to you in creating your own DBAE curriculum. Please fill out this questionnaireand return it to the Getty Center at the address below.

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The Getty Center for Education in the Arts 401 Wilshire Boulevard, Suite 950 Santa Monica, CA 90401-1455

Thank you. This unit, written for a high school general art course, is entitled The Word as Image: Symbol to Gesture. It investigates relationships between words and visual images including the use of words in paintings and graphic arts. It leads students through an examination of the development of alphabets from graphic gestures, investigation of letters and words in their everyday lives, and takes them full circle to the use of written symbols as gestures in modern painting. Among other goals, it leads students to an understanding of contemporary abstract and nonobjective art.

The high school general art course is one that might be taken by students who are interested in art, but who are not attracted to studio art courses. As a required course, it will provide a balanced view of art with content derived from the four art disciplines and integrated in activities for students. As electives, courses such as these can serve a potentially large population of students who typically have not elected art in high school.

BEST COPY AVAILABLE

183

This unit suggests Introduction alternative directions. For example, production lessons could be adapted or A ThreeFour Week Goal Statement rewritten to enhance a Painting/Graphic Design Unit This unit will help students photography course. for High School understand and appreciate how

"Whence did the wondrous mystic art twentieth-century artists have We developed this topic arise, of painting speech and speaking to incorporated language into their because of the significant interactions the eyes?" paintings through word, symbols, between words and and gesture. William Massey, images in the lives of Instructional Strategies our students. This in FriedriCh Neugbbauer, The Mystic relationship has existed Art of Written Form: An Illustrated The art room/studio is fertile ground for centuries, but is Handbook for Lettering (Boston: for the highest levels of cognitive intensified through functioning. By asking provocative pervasive contemporary Neugbbauer Press, 1980). mass media. questions to encourage meaningful dialogue, the teacher becomes a true Unit Description facilitator of learning. This unit is designed as a three- to The art disciplines are four-week, two-part unit within a A stimulating environment will closely interrelated and general high school introductory art often overlap. They are include exciting resource materials, course and assumes that the students discussed separately in such as books, reproductions, films, the following lessons have had regular discipline-based art and charts, and will be enhanced by only for clarification instruction through the eighth grade. and easy reference. guest specialists and museum trips. It could also be taught within an advanced elective course. Suggested Student journals with regular written resources have been included, but entries and portfolios of students' teachers should feel free to select artwork will be developed and used from their own slides, posters, and for the evaluation of student progress. books as necessary to teach the concepts and content of the lessons.

184

1.11111111111111111111111111111 E-3 Ft THE CHARACTER OF CHARACTERS

Discussions, games, debates, and students will recognize and compare role-playing are useful strategies for the styles of several artists who encouraging student participation. incorporate letter and word forms in The teacher will provide explicit their work. Students will examine the instruction in art production overlapping boundaries of graphic principles and techniqUes through design and fine art. demonstration, critique, and other Art Production: Students will create strategies. paintings or collages that incorporate These lessons will show how the actual or simulated printed word twentieth-century artists make use of(letters, symbols, or numerals), formal words and letters in their applying knowledge of design works. (Seven or more 45-minute elements and principles along with periods.) expressive qualities found in letters. Objectives Aesthetics: Students will speculate on Art History: Students will learn the effectiveness of the expressive about the work and lives of several qualities resulting from the use of artists in the twentieth century who letters and words in works of art. incorporated letters or printed words Students will investigate aesthetic into their work. Students will study meanings conveyed by letters and methods the cubists, dadaists, pop words in artwork beyond the literal artists, and other contemporary meanings common in written artists have used to communicate language. ideas. Art Criticism: Students will study the formal qualities of mechanical, measured, hard-edged (as opposed to 2 soft-edged) letters and cornpare handcrafted letters with mechanical type. They will analyze ways that elements and principles of art are applied to designing alphabets. The

F -4 PART A

Letters, Words, and Symbols in Art

INSTRUCTIONAL METHODS Warhol. Place reproductions of their AND ACTIVITIES work around the room. The teacher will: 2. Using an opaque projector, show 1. Introduce some of the artists listed, examples from publications of the use such as Gris, Davis, Lichtenstein, and of words, symbols, and letters in

Roy Lichtenstein, Blare, Yale University Art Gallery.

1S6 DAY O N E

popular culture, citing uses of words,4. Guide students in discussion of the numerals, letters, and symbols on reasons for their slang phrases and billboards, posters, greeting cards, current expressions. Have they advertisements, and on packages. thought about the visual images for Show examples from type cataloguessome of these phrases? List some of used by graphic designers. them on the board and in student journals. (Examples: bad, fresh, dude, Ask students to identify and discuss chill; discuss why these words change the expressive qualities of mechanicalwith each new generation of students). This discussion is intended to interest and hard-edge symbols, logos, let- Ask students to continue to list more students in the ters, and words using some of these expressions on their own as optional history and exam -pies. Ask students how letters homework. expressive qualities of and words found on designer labels, letter forms. articles of clothing, corporate logos, 5. Ask students to keep a journal, advertisements, and in the mass me- listing reactions to slides and other dia (TV, newspapers, etc.) commu- reproductions, building a glossary, nicate feelings, values, and meanings.and entering homework assignments. Explain the use of a daily journal and 3. Show examples of the develop- regular entries, including homework ment of mechanical, prescribed letterassignments. Discuss journal content forms and alphabets from pictogramswith students individually from time through copperplate script, includingto time to gain a sense of their gothic letters designed by Darer. progress and interests.

Stuart Davis, Schwitzki's Syntax, Yale University Art Gallery.

1S7

E-6 Shopping bag reproduction of Andy Warhol, Campbell's Condensed Tomato Soup, Yale University Art Gallery.

6. Ask students to look in magazines be used later in the unit. They might for examples of words, letters and wish to paste some of their favorite numerals, in different styles, for examples in their journals and make analysis and identification. These will entries that explain their selections. PART A

-: "ttsti.111141g.e:

Letter Forms in Twentieth-Century Painting

My metaphor, if that is what you can call it, is my relation to the power of commercial

advertising, which in turn is related to our free society. ..."

Roy Lichtenstein, in G. Swenson, "What Is Pop Art?" ArtNews vol. 62, no. 10, p. 41.

INSTRUCTIONAL METHODS 2. Briefly discuss cubism, dada, and AND ACTIVITIES pop art; ask students to add terms to their journals. Resources Photorealist painter Richard Estes, Calligraphy and typeface catalogues and his sharp focus paintings of city- and visuals listed below or scapes, with signs, symbols, and neon substitutes. lights, may also appeal to students in Books, magazines, newspapers, etc. conjunction with this lesson. Suggestion: As students study cubism, The teacher will: they can learn how Picasso and 1. Show reproductions or slides of Braque: paintings that incorporate words or lett- a. followed Cezanne's emphasis on ers, commenting on composition and solid form in painting, making a design factors. Suggested images: sky appear as solid as a mountain; Nadezhda Adreevna Udaltsova, At the Piano b. emphasized the flat surface of Juan Gris, Abstraction No. II: Le paintings by rejecting atmos-pheric Journal perspective and other devices; Joseph Stella, Battle of Light: Coney c. limited their palettes to a nar-row Island range (especially during the Jasper Johns, Alphabet analytical phase); Stuart Davis, Schwitzki's Syntax Roy Lichtenstein, Blain d. painted multiple views of an object Andy Warhol, Campbell's simultaneously, resulting in Condensed Tomato Soup extreme abstraction; Biographical notes may be found in e. used distortion freely; the Appendix. f. sometimes introduced collage Note: African-American artists Roma re materials into painting; Bearden, Cliff Joseph, and Howardina g. sometimes introduced the use of Pendell also incorporated words in their works. The New York Times and other letters, words, and phrases. reviews of their work can be researched You might provide similar analyses of for more information and for samples of pop and dada styles. critical writing.

E-8 DAY TWO

3. Provide books, magazines, and 2. Speculate about why an artist may have other resources for students' research.chosen particular letter styles in which the Students will: words become another abstract pattern or 1. Find likenesses and differences figure in the painting. among the various styles (cubism, 3. Talk about the use of words in art. dada, and pop art) as they view and discuss slides or poster reproductions.

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Juan Gris, Abstraction No. 11: 1.c Journal, Yale University Art Gallery. 190

E-9 DAY TWO

The following questions are useful for letters as collage materials in their final aesthetic or critical discussion. The paintings. Are their letters suitable for the teacher may choose one or more and word or phrase they are considering for guide students to consider some of the their image in the painting assignment? following concerns of artists: (Preview this assignment with students.)

a.Is it possible for the artist to destroy, Evaluation change, or ignore the meaning of the 1. Give a slide quiz: Show several slides of word in a painting? artworks similar to ones shown earlier and ask students to write brief answers to b. How did the cubists use words to questions based on previous observations, reinforce the flat qualities of the picture for example, What style is this like? What plane? kind of typeface is used? c. How was this concept an extension of 2. Check homework assignment(s). Cezanne's theories of representing forms in a painting? To assign: Write briefly about one of the questions discussed in class. Use student d. For the dadaists, the interest was in journals. word puns. How is this communicated? How is the word 3. Evaluate written responses to one or changing the painting? How does the more of the aesthetics/critical questions painting change the word? discussed in class.

e. How did pop artists extend ideas 4. Check students' journals or learning logs from earlier artists? What were their for required periodic entries and pertinent concerns as they developed their style reactions or questions relating to content. in the 1960s? Expect students to use appropriate Evaluation of student terminology to demonstrate their f.How does the physical appearance of progress and the degree understanding. Frequent updating of a words add meaning to the painting, of teaching success learning log will contribute to and facilitate must be qualitative as for example, in a pop art work? How the s, 'dents' own assessment of his or her well as quantitative. do the other images and words work Evaluation techniques progress. Periodically review and discuss together to amplify the expressive are treated as an journals with each student individually. essential component of qualities in a painting? What effect each lesson. does repetition have? Scale? 5. Periodically ask questions such as: "What have you learned about the Homework cubists?" or "How did the painting 1. Check examples of words and phrases enhance the pictorial qualities of the in various typefaces collected and ask word or change the literal meaning of students if they are satisfied with what the word? Why?" Note which students they have so far. Have them discard and respond with comprehension. substitute samples accordingly. Ask them to identify typefaces (from catalogues of graphics and typefaces and styles). Tell then i that they may use some of these

E-10

PART A

Creating with Letter and Word Forms

INSTRUCTIONAL METHODS Students will: AND ACTIVITIES 1. Study several themes and methods Resources of communicating these themes. Sketchbook for each student; large 2. Prepare several thumbnail sketches newsprint, pencils, or crayons. and a large preliminary drawing at The teacher will: least 18 x 24 in. and receive the 1. Review with the class the teacher's approval before beginning to execute the final composition. reproductions and slides shown on the first two days. 3. Use the printed letter to show an understanding of its expressive 2. Assign stt. dents to design and complete (in iicate due date) a large qualities and how it enhances the painting tl at will incorporate formal "message" communicated by the painting. letters in the manner of one of the artists whose work was studied. The 4. Include these tentative themes and letters students brought from home sketches along with homework may be included as collage. Painted assignments (logs, sketchbooks, etc.) surface will be flat and "hard-edged,"in their portfolios. not soft or fuzzy. Note: As students complete the 3. Help students identify an idea or preliminary sketches and large drawing, theme that they wish to communicatethey are ready to move ahead with their in their painting. Discuss: What is a paintings. Make provision for varying theme? In what ways might it be paces of students as they become ready to communicated? paint at different times. 4. Using productions of paintings in slides, posters, cr books, ask students to demonstrate their understanding of the expressive qualities achieved by using the printed letter (actual or simulated). How does the lettering enhance the "message" communicated in the overall painting?

E-12 PAF,T A

0 (0

Production and Conferencing

INSTRUCTIONAL METHODS design, originality of concept, AND ACTIVITIES relevance to lesson (cubism, dada, or pop influences), and encourage Resources students to refine and revise work in Large paper, tempera or acrylic progress before submission as final paints, water, glue, brushes, extra product. magazines and newspapers. Students will: The teacher will: 1. Complete final painting based on 1. Day 4: Review homework. the teacher- approved preliminaries, and with intermittent conferencing, 2. Confer with each student about continue through to the end of Day 6. compositional factors, strength of

Joseph Stella,Battle of Light, Coney Island,Yale University Art Gallery.

194

E-13 PART A I 01=M11111 0

Critique and Evaluation

INSTRUCTIONAL AND 3. Be able to explain how their final EVALUATION ACTIVITIES product synthesizes their learning The teacher will: e Teriences from the unit and L Display student works. participate in the discussion of works by other students, justifying their We expect that art2. Encourage positive commentsas comments with specific reasons. teachers are familiarwell as valid suggestions for with available models 4. As time permits, teacher and for art criticism, suchimprovement of students' work asthose of Harrythrough a 20-minutegroup critique. students will review all writtenwork, Broudy, EdmundAct as facilitator, helping studentsto including journals, sketches, and Feldman, or Gene drawings in portfolios, along with the Mittler.become independent criticsso as to conduct their own critiques in the final product. All assessments from future. the unit, Part A,may be used for required grading purposes. 3. Describe format for students' written evaluation below. Suggestions for questions: How do the stifle and techniquescarry the message? Students will: Does "amount of time spent"equate with 1. Show and critique their works. good"? How does the word figure into 2. In the last half of the periodthey the zvork? Does having other peoplehelp execute a work refute the artist's will write an evaluation of theirfinal products based on creatit,ity? a. expressive qualities,

b. handling of medium, forexample, whether or not hard-edge and flat surface was achieved,

c. the formal qualities of the lettersor words used,

d. how well the wordsare integrated into and enhance the work.

E-14 WORD, GESTURE, AND IMAGES

"Rather than setting out to paint something, I begin painting andas I paint the picture begins to assert itself, or suggest itself under my brush. The form becomesa sign for a

woman or a bird as I work....The first state is free, unconscious."

Joan Mir& in J.J. S Neeney, "Joan Miro: Comment and Interview," Partisan Review, February 1948, p. 112. These lessons will show the development of the gestural image in art (10 or more periods). Objectives Students will study the influence of selected surrealist and abstract expressionist painters whose use of handwriting, words, symbols, and/or calligraphic gesture changed the nature of painting. Students will review the development of some ancient alphabets to understand their influence on selected painters.

Jean Miro,Women and Birds in the Night, Yale University Art Gallery. PAF1T B

Twentieth-Century Gestural Images and Their Antecedents

INSTRUCTIONAL METHODS Note: Maiii of the surrealist artists and the AND ACTIVITIES abstract expressionists were interested in finding symbolic or metaphoric imagery that Resources would relate to universal psychological or Felt-tip markers, assortment of archetypal concerns. Some artists employed a magazines and newspapers, slides doodling method that they called "automatic and poster reproductions such as drawing" or "automatism," which influenced those listed below. the later work of the abstract expressionists who had been using symbols, pictographs, and signs The teacher will: from various cultures as means of expressing a 1. Show slides and reproductions "universal unconscious" (see discussion of (leave posters on display for duration Carl 'tow, page E-28) in their art. Try to show of Part B). Select from these or use connections, using yotir own resources as similar images: surrealists and needed. automatists (surrealists who used automatic handwriting) such as Les 2. As the slides are shown, ask students to Chevaux and Poursuite by Andre use as many adjectives as they can to describe the reproductions shown. Ask Masson (automatist); The Fabulous Racetrack of Death(instrument very them to interpret moods and dynamic states. dangerous to the eye) by Roberto Matta Echaurren (automatist); Woman and 3. Next, show examples of and review Bird in the Night by Joan Miro symbolic and pictographic art from (surrealist). Also show works by various cultures such as Paleolithic cave abstract expressionists who used a paintings from the Bushmen of Africa or loose, gestural, nonobjective Lascaux in France and/or Altimira in technique, such as Arabesque by Spain, and Egyptian hieroglyphics and/or Jackson Pollock, Ravenna by Franz Middle East cuneiform, and ask students Kline, The Pursuer and the Pursued andto compare the ancient forms of commu- Red and Green by Adolph Gottlieb, nication with the symbols and ges-tures Lac Achigon by Joan Mitchell, and used by the contemporary artists as shown Untitled by Cy Twombly. in the selected images.

4. Pose a question for class discussion such as "If cave dwellers did not consciously intend their pictures to be beautiful, or even to be seen by other human beings, are they 'Art'? Why or why not?"

E-16 1J? DAY ONE

5 Ask students to create picture sym- 6 Reinforce the bases of grading for bols with black markers for 6 or 8 the unit: Class participation, art familiar words, such as man, woman,production, written work, and forest, river, etc., to be used for dis- student journals and portfolios. cussion or consideration and as a basis for art production activity on Day 2.

Adolph Gottlieb, The Pursuer and the Pursued, Yale University Art Gallery.

158

E-17 BEST COPYAVAILABLE DAY ONE

I 7 Assign homework: 2 Speculate about the expressive qualities of artwork shown a Ask students to gather from newspapers and magazines replicas of signatures of 3. Participate in discussion of question 4 famous people (living or dead),or above. signatures of family membQrs and 4. Create assigned picture symbols. Post all friends, and bring to class by Day 5 for sketches. Discuss similarities and comparison and discussion of unique, differences among them. Writing a critical personal characteristics. instruct 5. Record homework assignments in analysis or review may students to make entries in journals. be a new experience for journal. Store sketches in portfolio. Begin 5017W students. They b. Assign a written review ofone or more selecting and reading critical reviews of will need to do it in selected works of art, to be patternedon twentieth-century art as background for stages. Supervise each reviews in art journals or writing own review. step and provide newspapers assistance. This activity available in the classroom or library. Evaluation provides an Urge students to begin reading reviews 1. Display reproductions and quiz opportunitv to and gathering ideas for theirown interrelate art with students on artists' backgrounds, styles, other school subjects writing. Provide art journals and influences, and use of words in images. in this case, English newspapers for this purpose. 2. Check entries of art terms and their composition. Students will: meanings in student journals. Observe 1. View and respond to art images level of class discussion. Note which presented by the teacher. students do and do not participate (find ways to encourage broad participation).

(2v Twomblv, Lin, il fed, The Saint Louis ArtMuseum.

E -18

PAT,74."7-f 1,4 Ai. PAR TB

Twentieth-Century Gestural Images and Their Antecedents

Objectives 5. Encourage students to create a Students will learn about selected storyboard illustrating a simple tale, artists' use of symbols in their using only picture symbols similar to paintings. Students will invent their the ones created during previous les- own symbols or adapt symbols to sons. Encourage using images for make a storyboard. verbs and adjectives, as well as for nouns, to communicate meaning. The INSTRUCTIONAL METHODS design should incorporate art princi- AND ACTIVITIES ples such as balance, harmony, contrast, rhythm, etc. and should be Resources fun and easy to "read." Approve Assorted colored felt-tip markers, pencil sketch, then distribute colored paper, pencils, tag board or other markers. firm board. 6. Redefine the critical review. The teacher will: Explain what it involves and how it 1. Review with class the art images will be developed from readings, an shown on Day L outline, one or more drafts, and a 2. Lead a comparison of the student- final version. Indicate due dates for created symbols with pictographs each part. We expect that high identified in artwork and ask students school art teachers are Students will: able to lead discussions to reflect on and discuss the meaning 1. Participate in above discussions, and assist students in learning front the of these symbols as used in ancient noting similarities and differences cultures and contemporary paintings. comparisons suggested among their own work, that of the in the unit. Students 3. Show on an opaque projectorexam-ancients, and the twentieth-century should learn to make finer distinctions, ples of several calligraphic styles, paintings reviewed. recogirize including, if possible, Arabic, Hebra- 2. Create a storyboard following characteristics of styles, ic, and Islamic styles and an Egyptian and gain ideas for their cartouche. Compare decorative styles teacher's instructions, attempting to own work. and contrast with pictographs. synthesize the communicative and the aesthetic qualities of picture 4. Show an example of a commercial symbols. Store design in portfolio. artist's storyboard. Compare this with the Egyptian cartouche. Note how they upicture symbols to relate a story.

E-19 DAY TWO

I) 3. Homework: Select an image of twenti- Evaluation eth-century art by one of the artists Check storyboards for successful use of mentioned in the unit, do preliminary pictographs to carry a message. Evaluate reading, and draft an outline of a brief (4-6students' knowledge of artists' use of A field trip to a nearbyparagraphs) review article. Outlines symbols in the images into on Day advertising agency might provide examplesshould include identification of artist and 1. Use a slide quiz. Respond to homework of storyboardsiir work, reference to style, and comparisons writing assignment. progress.and contrasts to other artists' works.

Jackson Pollock, Arabesque, Yale University Art Gallery.

E-20 PART B

Eli

Another Culture's Gestural Images

Day 3 3. Ask students to practice writing their own names with brush and ink Objective to establish familiarity with the Students will see examples of Asian medium. Encourage brisk, yet calligraphy and painting and practice delicate movement of the bent arm using basic Asian painting while directing the brush. The wrist techniques. should be firm and the brush held INSTRUCTIONAL METHODS almost vertically. (Refer to some of AND ACTIVITIES the excellent instructional books on this subject.) Resources 4. Instruct students to experiment Ink, bamboo or watercolor brushes, with uneven pressure of the brush water, paper for practice; examples and different loading of ink to of Asian calligraphy and painting. achieve varied effectsbent grasses, bamboo stalks, leaves, etc. Teacher will: 1. Show class examples of Asian Students will: calligraphy and painting from books, 1. Observe the Asian art images prints, slides, etc. that incorporate displayed and processes calligraphy, noting how gestural and demonstrated. spontaneous the inked images appear. 2. Speculate on the nature of Japanese 2. Demonstrate (or show a videotape or characters as revealed by the sumi-e invite an Asian artist to demonstrate, if art form. possible) with ink, bamboo brush, and 3. Compare the Asian calligraphy and water the Japanese sumi-e technique or the sumi-e techniques with the other painterly calligraphic technique. gestural qualities of twentieth-century Emphasize the Asian concern for action painters. simplicity, tranquility, and the desire to reduce natural forms to a basic essence. 4. Practice simple, direct painting Show how to use a brush and ink to createusing ink and water, synthesizing expressive lines. Encourage comparison what students have learned about with Asian letter forms. Asian gesture. DAY FOUR

Day 4 2. Participate in the discussion of the quotation about the "Three Objectives Perfections." Students will analyze the characteristics of symbols and the 3. Practice ink and brush gestural gestural qualities of selected painting as time allows. twentieth-century paintings and 4. Continue reading and research for compare them to those ased in cave the review assignmer t. paintings and calligraphy from other cultures. Students will also contrast Evaluation these examples with the images 1. Assess whether students can studied in Part A. Students will identify paintings that use gesture. discuss a quotation about Asian arts. 2. Supervise the recording of reactions INSTRUCTIONAL METHODS in students' journals as they AND ACTIVITIES appropriately use vocabulary from the content of the lesson. The teacher will: 1. Focus students' attention on word 3. Note improvements in students' images in the work of Jackson abilities to handle brush and ink Pollock, Franz Kline, and Cy expressively. Note amount and Twombly in which the gesture or the quality of students' production handwriting is expressive of the activity with brush and ink individual, referring again to reproductions on display or the slides. Review also the nongestural use of letters and words in Part A. 2. Provoke class discussion by offering the following statement for interpretation: "Of all the arts, the ancient Chinese considered Painting, Calligraphy, and Poetry to be the 'Three Perfections.'"

3. Collect outlines of the homework assignment and/or check to see that work is progressing on schedule. Students will: 1. View and respond to word images, as in the works of Pollock, Kline, and Twombly. PART B

Comparing Examples of Words and Gestural Images

Objectives sharing by selected student readers. Recognize students for Students will respond to the excellence in all areas of 4. Offer the following question for class art learning and improvisational qualities or the cxpressiwi. dreamlike images used by some discussion: Why is it more acceptable or surrealists, abstract expressionists, culturally relevant in the twentieth and neo-expressionists, and will century to address free association, speculate about their expressiveness. doodling, and nonliteral symbolism? Why Students will be asked to indicate did this phenomenon not occur in past evidence in defense of their views. centuries? Or did it? How can we know?

INSTRUCTIONAL METHODS 5. Return critical review outlines to AND ACTIVITIES students and describe again the form and content of the written review. Read some The teacher will: of the outstanding examples and 1. Review with dass the art examples on recognize students' accomplishments. display and lead a discussion on how Students will: gestural qualities similar to those in Asian 1. Review the reproductions on display calligraphy manifest themsehTes in works and participate in discussion. by some twentieth-century artists. Continue to contrast with artists' work 2. Take turns reading aloud from relevant discussed in Part A. books provided by teacher, comment and defend personal opinions. 2. Discuss examples of students' ink and brush gestural paintings in relation to 3. Speculate on questions posed by teacher Asian and twentieth-century paintings. (#4 above).

3. Provide two or three books of your 4. Make entries in journals addressing choice, for reference, reading, and comparisons among the cubists, dadaists, discussion, pertinent to this lesson. For and pop artists who used symbolic word example, B. Freeman and A. Weldunan, images in their work, and the surrealis, The Dada aunt Surrealist Word -image (Los abstract expressionists, and neo- Angeles County Museum of Art, 1989), expressionists who were improvisational pp. 13-56; C. Wheelwright ed., Word in "doodlers." Flower: The Visnalizatioll of Classical 5. Homework: Continue workon critical Literature in Seventwth-Cei iturtaapan (Yale review, moving from outline to paragraph University Art Gallery, 1989), pp. 12-15 ff.,form in rough draft. 84-108. Mark passages to be used for oral

E-23 0 4 DAY FIVE

Extension Evaluation 1. Provide reproductions of art by Joan 1. Quick quiz. For example, display a Miro, Max Ernst, Andre Masson, series of six reproductions representing Arshile Gorky, Willem De Kooning, the works of artists mentioned, but not Jackson Pollock, and Cy Twombly in those shown and discussed previously. which freehand doodles are Number the reproductions. Ask improvisational "free associations," students to match each to the correct and lead an interdisciplinary discussionstyle and to indicate which prints including parallel literary forms. For emphasize gesture and which example, in psychological terms, emphasize symbol. (Ditto a format for doodling is to the hand what free easier checking.) association is to the minda means of Note: If large posters arc' not available, getting closer to the real personality or inexpensive postcards may he purchased the subconscious. This is similar to the from museum bookstores or from school art "stream-of-consciousness" writing or suppliers. Mask the information available on daydreams of modern writers such as the reverse side. Use these for small-group Marcel Proust, Virginia Woolf, Philip investigation. Roth, and J. D. Salinger. (Consider an 2. Assess the degree of contribution to interdisciplinary unit with the English class discussions and the degree of and/or Humanities departments.) understanding exhibited by written 2. Students may write responses to a entries in students' journals. painting utilizing a "free association" of ideas.

Andre Masson, Les Chevaux, Yale University Azt Gallery

0 , 4..110

E-24 PART B

Creating a Gestural Painting

Day 6 4. Ask students to explore the effects of using a variety of .00ls to make Objective their own signature (pencils, pens, Students will create paintings that )rushes, etc.), and emulate the incorporate symbol and gesture, surrealists' repeating and otherwise synthesizing what has been learned elaborating on the signature, or parts through the design of word pictures of the signature, to explore various and surni-e painting exercises. techniques. INSTRUCTIONAL METHODS 5. Assign a written critical review of AND ACTIVITIES one of the paintings studied. Pattern Resources review on those studied in art 12 x 18 in. watercolor paper, journals or newspapers. watercolors, tempera, pen and ink. Students will: 1. Compare and analyze the gestural The teacher will: and expressive qualities of individual 1. Display and share the handwriting handwriting, further understanding examples or signatures brought to its implications for artistic inspiration. class (as assigned on Day 1). Ask the students to speculate what these 2. Rehearse for the final project by personalities, as revealed by the exploring various methods of handwriting, may really be like. transforming handwriting into Discuss and compare as personal gestural design. gestures.

2. Show slides, video, or posters of surrealism, automatism, or abstract expressionism.

3. Guide students to examine one of the signatures they submitted and view it as a line, describing it in detail. Instruct students to doodle, using that signature as a free and 2 0 automatic gesture. DAYS 6-9

Day 7 2. Conduct two-minute conferences The teacher wia: with students as work progresses, 1. Assign the final project: Using the jointly assessing areas for works of surrealist "automatist" or improvement or revision. abstract expressionist "action Compositional factors, strength of painters" as examples, each student design, originality and clarity of will be asked to: concept, and relevance to lesson will be considered. A range of teachinga. create a painting by transforming his methods arc required in 3. Appraise drafts of critical reviews this unit, including or her nonobjective signature, using slide-lecture, one or more of the techniques des- and return them to students with discussion, assignment of completing final cribed above as the basis of design, or demonstration, reviews by Day 10. critique, and individual b. follow Miro's quote (see page E-15) consultation. Students will: and create a painting from the 1. Begin and complete final painting subconscious. The methods chosen by end of Day 9. must achieve the desired symbolic and /or gestural qualities. The final 2. Share in the assessment of painting- product is to be completed within in-progress and critical review during three class periods (days 7, 8, and 9). conferences with teacher. 3. Complete and turn in critical review, final version, after teacher has checked draft copy on Day 9. Days 8 and 9 The teacher will: 1. Guide and encourage students as they paint. Students will: 1. Continue working on paintings and/or reviews.

Joan Mitchell, Lac Achigon, Yale University Art Gallery.

E-26

' ''; 1 . PART B

Critique and Evaluation

Objective Students will: Portfolios and journals Students will assess the aesthetic 1. File all completed artwork in will exh;bit student progress in the areas of qualities of their own production. student portfolios for final gr .de. art history, criticism, aesthetics, and The teacher will: 2. Write a brief essay about what they production. 1. Facilitate a class critique of student have learned of the relationship work, modeling positive comments asbetween doodling (or spontaneous well as valid suggestions for writing) and surrealism or abstract improvement or alternative means of expressionism, making reference to achieving artistic goals. Students will specific images seen during the unit. base their comments on the degree to Ask students to make doodles and which gestural qualities, contour, drawings to show examples. form, and the use of line enhance each piece. 3. Turn in journal for teacher's evaluation of entries. Teachers will 2. On the basis of each student's look for regularity of entries, evidence comments, teacher will judge the of students' progress, and their degree to which the student is recognition of their own learning. involved with thoughtful, critical analysis. "In the beginning was 3. Complete the evaluation with each

student of the individual's the Word.. ." productions. The paintings should synthesize students' understanding c,f doodle, or free writing, as artistic gesture, while reflecting a personal and creative interpretation of surrealist or abstract expressionist methods.

4. Begin evaluating students' critical reviews. Plan to have students share them in the near future, perhaps in the school newspaper. 013

E-27 APPENDIX Gorky, and others) was concerned with the world of the mind, whose subjects are Selected Twentieth-Century Art dreams, fantasies, and the imagination, Movements which had new intensity of meaning This unit touches on some of the major based on the ideas of psychoanalysis and movements of Western twentieth-centurySigmund Freud. The surrealists had art, specifically cubism, dadaism, and various approaches to give visual form to surrealismmodern movements prior to the world of the unconscious. Da li and World War IIand abstract Magritte used an illusionistic mode, expressionism, pop art, and neo- whereas the others mentioned preferred expressionismso-called contemporary to begin with a free gesture to start their movements because they begin after "mindscapes." Miro and Klee's images 1945. These paragraphs will serve as suggest a childlike immediacy, where reminders about more extensive inner feelings are unfettered by conscious information in other reference materials. constraints. Matta, Masson, and Gorky used biomorphic or organic shapes to Cubism (Pablo Picasso, Juan Gris, suggest metaphors for feelings and Naciezhda Adreevna Udaltsova, and personal experiences. They also employed others in Europe, and Charles Demuth, a method called "automatism" or Joseph Stella, Stuart Davis, and others in "automatic writing" in which loosely the United States) was concerned with drawn doodles allowed for direct the flat, formal, and visual qualities of expression of the personality through the geometric fo:m, often flattening the individual's mark or signature. This was image by using overlapping planes, an unpremeditated method of getting floating lines, patterns, and other visual closer to one's own personalitya parallel characteristics freed from illusionistic to the "free association" process used in function, thereby distorting the third psychoanalysis developed by Sigmund dimension. Cubism was used by the Freud. This, in turn, relates to the "stream- futurist artists (e.g., Joseph Stella) as a of-consciousness" style of writing found compositional structure to express their in the works of Marcel Proust, Gertrude interests in expressing an affirmation of Stein, Virginia Woolf, Philip Roth, and the dynamism of machines, electricity, others. speed, and other aspects of modern life. The Russian constructivists (e.g., Abstract expressionism (Willem De Udaltsova) found that cubism served to Kooning, Arshile Gorky, Adolph Gottlieb, show their concerns with expressing the Franz Kline, Joan Mitchell, Jackson beauty, function, constructions, and Pollock, and others) was the first major technical methods of engineered style originating in the United States, structures and manufactured objects. starting in the period of World War II. In the late 1930s through the mid-1940s, Dadaism (Marcel Duchamp, Man Ray, i-se artists tried to find a visual form for Francis Picabia, and Kurt Schwitters a "universal unconsciousness" described who worked independently, calling his by Carl Jung, which was inspired by style merzand others), a movement recurring symbols and archetypal images between the two world wars, responded that pervade all cultures. Their first to the futility of modern life with the idea images were almost readable abstractions, that life was absurd, at least in the ways suggesting dreams, inner feelings, and that humans could understand it. with frequent psychological or mythlike Consequently, they preferred to titles. Matta and Masson came from demonstrate that there are no rules for Europe to New York City to escape the art; distorted space and nonillusionistic horrors of the war. They introduced aspects of cubism served their aims. TheyGorky, Pollock, and others to resorted to visual and verbal puns, "automatism," which served their assemblages, and "guerrilla" theater. common concerns and gave the New York Surrealism (Joan Miro, Andre Masson, artists a means of finding a looser, more Roberto Matta Echaurren, Paul Klee, gestural technique, later referred to as Salvador Dali, Rene Magritte, Arshile "action painting." This first generation to the New York school (named for the city

E-28 APPENDIX to which their art was oriented) made A Selected Glossary of Terms gesture auto the primary structure as well as the metaphor in their paintings. These Note: Add other terms and definitions as painterly "actions" parallel the necessary. improvisational, the energetic, and the Abstract expressionism: A segment of personal paths of modern life, an nongeometric abstract art of the 1940s affirmation of the individual to create the and 1950s that expressed in nonobjective first truly nonobjective style. terms the spontaneous assertions of the Pop art (Jim Dine, Jasper Johns, Cy individual. Twombly, Roy Lichtenstein, James Automatism: Surrealist technique of Rosenquist, Robert Indiana, Andy allowing the hand to write without Warh,)I, and others). With abstraction conscious direction. and nonobjective art dominating avant- garde Western art in the United States for Calligraphy: The art of fine handwriting. decades, the public was ready for the re- emergence of representational work. The Cartouche: A signature in pictographs, almost deadpan or straightforward enclosed by a border, found in early presentation of popular, commercial, and Egyptian art. everyday objects was not what was Character: In lettering or type, an anticipated. It took time to see that Johns, individual letter or letter form. Dine, and Twombly had great affinities for the gestural qualities of the abstract Composition: An arrangement of forms, expressionists while introducing lines, and values into a picture design. everyday signs, symbols, words, and objects into their paintings. The more Cubism: A revolutionary twenlieth- hard-edge pop artists, such as Warhol, century art movement that represented Lichtenstein, and Indiana, gave up the volume in broken, two-dimensional personal mark and signature approach planes. for the clean, flatter look related to late Cuneiform: Wedge-shaped written cubism and to the surface of mechanical characters of ancient Persian alphabets. reproduction. Dadaism: Antiestablishment art Neo-expressionism (Jean-Michel Basquiat, movement during World War I Francesco Clemente, Susan Rothenberg, expressing outrage at world conditions; and others). These younger artists share often used words as puns. visual commonalities in a period in which a diversity of styles flourish and Gesture: Free use of line to express a influence, a period called feeling of movement. postmodernism. The art of the 1970s and 1980s reflects a multiplicity of influences Hard-edge: Painting or lettering executed from folk to academic art, and from in flat color delineated by precise, sharp Eastei.i, Western, Third World, and otheredges. traditions. This group of artists use gestures with personal signs and Hieroglyphics (glyphs): Pertaining to picture characters (signs or symbols) in symbols, combining elements from early Egyptian writings. abstract expressionism and pop art in a new current and sometimes "street- Merz: A form of dada begun by Kurt smart" style. The work of African- Schwitters, originating from a collage he American artists, such as Jacob had made containing the letters "MERZ." Lawrence's Tombstones and many of Romare Bearden's collages, also 1-vpify Neo-expressionism: Abstract paintings the interest in the use of words toexpress stemming from emotions or accidental the "Black Experience." happenings. Pa/co/it/tic: Stone Age; cave art dating from 40,000 to 3,000 B.C.

E-29 20

ca APPENDIX

9 Pictogiaph: Picture writing; expressing an idea with picture symbols. Pop art: Art movement of the 1950s that utilized mass-produced, found, or readymade objects in making art. Storyboard: Sequence of preliminary pictures drawn by an advertising artist that represents a video, commercial, or film sequence. Sittiti-e: Japanese brush painting using ink and water. Surrealism: A style of the early twentieth century; images are based on dreams, fantasy, or the subconscious. Symbol: A sign, figure, design, or motif used to represent an object, person, or idea. Thumbnail sketch: A rough, small preliminary drawing. Typeface: Style name attributed to various kinds of mechanical lettering.

E-30 Authors

Janet Saleh Dickson has been Curator of Education at the Yale University Art Gallery since 1970. Previously, she was a school/museum coordinator in New York City, working at the American Museum of Natural History, the Whitney Museum of American Art, and the Metropolitan Museum of Art. She is vice president of the New England Museum Association and has beenon the Advisory Committee of the Connecticut State Department of Education. Ionis Martin holds degrees in art education from Fisk University, Nashville, and the University of Hartford. She has an MFA degree from Pratt Institute, New York City, and continues to produce and exhibit paintings and prints. Ionis teaches high school art in the Bloomfield, Connecticut, Public Schools and lectures in art education at Central Connecticut State University. She serves as a trustee of the Wadsworth Atheneum, is co-founder of the Artists Collective Community Arts Center in Hartford, and isvery active as a community art leader. Ionis is a consultant for the National Diffusion Network IVAE project.

Virginia Pappalardo is former art coordinator for the Westport, Connecticut, Public Schools. Virginia has taught art at every grade level from kindergarten through 12th grade. She received NAEA's program standards award in 1989 for her school district's art program and in 1990was honored as Connecticut's art educator of the year. Ginny is currently teacher of the gifted and talented in Westport where, in addition to being an active watercolorist, she is alsoa published writer and poet. Ginny is a consultant for the National Diffusion Network IVAE project.

Janet Saleh Dickson,Virginia Pappalardo, and lords Martin 212

E-31 Acknowledgments The authors and publisher would like to thank the following museums, collections, and private individuals by whose permission the illustrations are reproduced. The page number on which the artwork appears is in parentheses at the end of each entry. Roy Lichtenstein, Blam, Yale University Art Gallery, on lom from Richard Brown Baker (p. E-5). Stuart Davis, Schwitzki's Syntax, Yale University Art Gallery, the Katharine Ordway Fund (p. E-6). Shopping bag reproduction of Andy Warhol, Campbell's Condensed Tomato Soup, Yale University Art Gallery, gift of Mr. and Mrs. George Hopper Fitch (p. E-7). Juan Gris, Abstraction No. II: Le Journal, Yale University Art Gallery (p. E-9). Nadezhda Andreevna Udaltsova, At the Piano, Yale University Art Gallery, gift of Collection Societe Anonyme (p. E-11). Joseph Stella, Battle of Light, Coney Island, Yale University Art Gallery, bequest of Dorothea Dreier to the Collection Societe Anonyme (p. E-13). Joan Mir6, Women and Birds in the Night, Yale University Art Gallery, gift of Kay Sage Tanguy (p. E-15). Adolph Gottlieb, The Pursuer and the Pursued, Yale University Art Gallery, gift of Fred Olsen (p. E-17). Cy Twombly, Untitled, The Saint Louis Art Museum, funds given by the Shoenberg Foundation, Inc. (p. E-18). Jackson Pollock, Arabesque, Yale University Art Gallery, on loan from Richard Brown Baker (p. E-20).

Andre Masson, Les Chevaux. Yale University Art Gallery, The Ernest C. Steefel Collec- tion of Graphic Art (p. E-24). Joan Mitchell, Lac Achigon, Yale University Art Gallery, The Katharine Ordway Collec- tion (p. E-26).

4461-.,,2454:0 THE WORD AS IMAGE Symbol to Gesture

UNIT EVALUATION

The Getty Center for Education in the Arts is interested inyour opinions about this unit, your experiences teaching it, and/or its usefulness toyou in creating your own DBAE curriculum. Please fill out this questionnaire and return it to the Getty Center at the address below.

Did the introduction to Discipline-Based Art Education: A Curriculum Sampler provide a context for your understanding of this unit?

Is the content in this unit worth teaching?

Does this unit fit with your understanding of DBAE?

How well does this unit serve as a model to helpyou write your own curriculum?

Comments (if you have further comments, pleaseuse the back of this page):

The Getty Center for Education in the Arts 401 Wilshire Boulevard, Suite 950 Santa Monica, CA 90401-1455 Thank you. 214

E-33 ART Exi,LoRX'rioN1

A GLOBAL APPROACH

Art Explorationa Global Approach isa high school unit written as part of an introductory art course or as acourse to meet graduation requirements in art, which an increasing number of states mandate. This unitfocuses on the study of ceramics, painting, and sculpture viewed froma global perspective, including discipline-based study of artworks frommany times, places, and cultures. This unit illustrates how a traditional organizationalstructure for curriculum, in this case three modes of art making, can be used as well as thematic approaches for discipline-based art units. This unit provides backgroundmaterials for teachers on a wide range of artworks, including pre-Columbian, Japanese, Native American, African, contemporary American, and others.

The high school general art course isone that might be taken by students who are interested in art, but who are not attracted to advanced studioart courses. As a required course, it will provide a balanced view ofart with content derived from the four art disciplines and integrated in activities forstudents. As electives, a uses such as these can serve a potentially large population of students who typically have not elected art in high school.

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A GLOBAL INTRODUCTION APPROACH These units are for the introductory high school artcourse. The writers have designed lessons around images and objects frommany cultures, with content drawn from art history, criticism, and aesthetics,as well as the creative and The writers assume that skillful production of art. teachers generally have RATIONALE and use illustrations, reproductions, and This is a semester course that is designed to fulfill a high school graduation requirement examples of Western for art. Students will have had discipline-based art instruction in previousyears ofart. Primarily non- school. "A Global Approach" may be extended toa full year as a foundation to the Western works are advanced art curriculum. specified in these units. Other works may be This course is designed to increase students' awareness and breadth of understandingadded to enhance and of art forms created by artists of past and present cultures. Each of these threeunits isenrich each unit. meant as a framework to guide the teacher and to suggest extended learning opportunities appropriate for a variety of learning styles. Additional units might be developed with an emphasis on printmaking, jewelry, fibers, architecture,or other modes of art production. Focusing on modes of expression and production techniques common to different parts of the world enables the student to recognize and analyze similarities and differences among visual art forms. Problemsare posed to strengthen creative and philosophical thinking skills. Strategies are presented to evoke thoughts and feelings while considering the historical, critical, cultural, and aestheticdimensions of artworks.

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Dragon of Marduk, Neo-Babylonian, The Detroit Institute of Arts.

F-3 2'16 Note: The writers developed these units Leai ning about art in a historical T as part of an eighteen-week sequence and context. X1'1:CY1.A1'1ONI. suggest the following organization. Time Keeping a journal of sketches and allocations may be adjusted as necessary. A GLOBAL ideas. APPROACH Week 1: Introduction Week 2: Ceramics Building a portfolio documenting progress. Week 3: Painting Week 4: Sculpture Participating in discussions, It is recommended thatWeeks 5-14: Other Media offering solutions, and listening to students keep a portfolio and journal Weeks 15-18: Portfolio and Notebook others. for notes and sketches. Expansion These ,nay be very Creating art and solving design helpful in assessing the At the beginning of the course, the problems. students' creativeteacher should prepare students to proress, knowledge,participate in the following activities: Writing responses to seeing art. understanding, skills, and attitudes.

Prior to beginning the units, the teacher might wish to develop a questionnaire to assess students' understanding of the following generalizations: A. Experiences related to learning historical /cultural content about art. 1. The visual arts have played o significant role in recording the development of cultures. 2. The needs and traditions of a cultural group often determine the art forms created. 3. The symbols created by a culture often communicate universalmean- ings, but may also be significant only to that culture. B. Experiences related to the process of creating and making art. 1. The elements and principles of design are inherent in the creation of art forms. 2. The materials and techniques used to create art are varied for different effects. 3. A variety of means can be used to develop ideas into visual forms. C. Experiences related to criticism/analysis. 1. The use of appropriate art vocabulary is important for understanding and communicating written and spoken ideas. 2. Techniques of description, analysis, interpretation, and judgmentcan be acquired through instruction and practice. D. Experiences related to aesthetics. 1. The philosophical bases for forming and expressing opinionscan be examined, extended, and refined. 2. Meaning inheres in objects of art and can be discovered through thot :ght- ful viewing. I . 14. S.

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, Ceramics Unit Overview

The focus of this unit is on clay as a medium used by cultures throughout the world. Through viewing a variety of ceramic forms, discussing their meanings, purposes, and original contexts, and creating a personal clay form, students will develop a sense of the range of possible expressions in clay. They will develop ways of experiencing ceramic objects so as to acquire deeper understanding and richer enjoyment. This series of lessons may provide an introduction to further experiences in hand- building methods, ceramic processes, or art historical studies. The results of this lesson will be photographed and placed in the students' portfolios to providea reference for observing growth in skills and understanding. Unit Goals

ART.1-11STO EsTRET:rc

To study e. variety To practice a To describe and To examine of ceramic forms variety of techniques analyze ceramic issues involving created by artists in for creating clay objects and to the significance different periods forms such as coil, identify and and value of and places and slab, pressed molds, interpret expressive ceramic objects. identify how each and the like. properties. reflects specific To create a ceramic concerns and vessel. purposes of the artist and the culture.

MATERIALS Prepare information note cards for small-group activities. Brief historical information is provided at the end of the unit and may be broadened by further research.

Provide visuals of the identified ceramic objects for each smallgroup. Provide journals for note taking and sketches. Provide clay and clay tools. Provide portfolios for student work. Display a world map in the art room. Provide a camera for documenting student wcfDk igx. portfolio (optional). 4, OVERVIEW

SUGGESTED IMAGES 2. Seated Deity Urn, Zapotec, Monte Alban The following works of art may be used Oaxaca, Mexico (A. D. 400-700), terra cotta. ART 3. Pillow, Korean, Koryo Dynasty, late twelfth as examples for this unit. Brief historical RATK:51:1- information about these specific works is century, glazed stoneware. 4. Model of Chair of Saint Pete- Gianlorenzo provided at the end of the unit. The A GLOBAL Bernini, Italian (1598-1680), terra cotta and teacher should adapt this material for stucco. APPROACH both teacher and student use, adding 5. Double Effigy Vessel, Mangbetu, Zaire, late additional research as needed. Other nineteenth century, earthenware. appropriate works may be substituted. 6. Vase, Maria Martinez, San Ildefonso, New Mexico (1940), black earthenware 1. Dragon of Marduk, Neo-Babylonian, reign of Artworks have been 7.3/4 Moon, Toshiko Takaezu (1985), Nebuchadnezzar II (605-562 B.C.), glazed selected from a wide stoneware, matte white glaze with copper brick. range of geographic brush design. regions and time t periods. Historical! cultural information is provided. Art is selected to coincide with course content and concepts to be learned. Similar examples are 4,41' generally accessible to art teachers at little or no cost.

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Seated Deity Urn, Zapotec, The Detroit Institute of Arts.

F-7 BEST COPY AVAILABLE T CERAMICS

A GLOBAL SESSION 1 APPROACH

Objectives

... , . . 6.SXRT'CRITICISM. AESTHETICS Examine and Analyze Explore aesthetic discuss art works similarities and concepts and address from historical/ differences among questions of value, cultural ceramic objects meaning, form, and perspective. from different function. cultures; discuss meaning.

PROCEDURES Divide students into groups of 4 or 5. Groups should select note-takers. May use slides, postcards, or visuals. World map should be displayed. The writers purposely focused on the Provide images of ceramic objects that relate to this unit. interactive discussion for the first session Display the following questions on the board. rather than on media and technique. This What continent do you think each work came from? session was designed toWhat culture do you think it might be from? inspire thought and What did you look for in the works to make your decision? encourage meaningful dialogrie. When do you think they were created? Speculate. Try to place them on a timeline. Begin dialogue in small groups with the note-taker recording the responses to the questions. Distribute information cards to each group. Prepare information in note card or handout form relevant to the historical, cultural, construction process, and symbolism. Given this new information, does the timeline change? Continue discussion in small groups, considering the historical information.

F-8 Z41 SESSION 1

Continue discussion as a total class. Students might sketch the ceramic Note-takers report on their small- objects as a means to assure close group timeline. Record this observation. Such drawings would information on the board or on a large become part of the inquiry method A GLOBAL sheet of paper. Report process used inand record of inquiry. APPROACH each group. Why are these objects considered Compare timelines and come to important enough to be in museums? consensus based on the comparisons. Quality craftsmanship? Did you have preconceived notions? Rarity? On what were they based? Beauty? Examine how this process is similar Sacred object? to art historical research methods by Historical significance? viewing works, gathering information, and making judgments. When these were created, they might not have been intended for museum Return to small groups. Collect display. During this session, the small-group notes for assessment teacher should discuss one or more of purposes. the ceramic objects in depth, providing cultural and historical Analyze differences and similarities contexts. in the works based on surface, function, and construction. Optional:

Korean, Pillow, The Detroit Institute of Arts. 222

F-9

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A GLOBAL SESSION 2 APPROACH

Objectives

RT HIS TORY-r ART PRODUCTION' ARfCRITICISI47. 9

Demonstrate Observe clay Extend vocabulary Explore ways in knowledge of demonstration. related to clay which assumptions shown works by works. affect the way we see Review clay- taking a written test. artworks. construction terms and techniques.

PREPARATION Assess comprehension of previous lesson. Design a test based on the information presented. Give oral or written test on identification and cultural orientation of artworks discussed. Gather clay materials and equipment for demonstration. PROCEDURES Discuss the role of the archaeologist/art historian. Relate to images. Consider the following questions: How do we know about the works we saw yesterday? Do archaeologists make educated guesses on what they dig up? Might they base their speculations on the time and location of the site, the level at the site, and/or comparisons with similar objects found at other sites? Do art historians make assumptions? Might they make assumptions by comparisons through primarysources (i.e., artists' notebooks, sketches) and/or documentation by other research authorities?

Note: Career niformation ant be introduced here, together with i /sights in to what the jobs entail.

F-10 SESSION 2

Pose the following studio problem Review, as necessary, clay-building to the class: techniques and surface treatment by ART ,ExPLORATION: Future archaeologists and art demonstrating coil, slab, stamping, historians will find many clues as to incising, piercing, and adding on. A GLOBAL APPROACH the type of culture we live in. Ask For homework, ask students to students to create an art form that think about and sketch how they will could be "read" in the future. The design their clay forms. form must be a clay pot or vessel that expresses symbols from contemporary culture. The students will write a statement concerning the following aspects of their vessels:

the function the construction technique the surface quality the symbolic quality the expressive quality the aesthetic quality

Double Effigy Vessel, Mangbetu, African, The Detroit Institute of Arts.

224 ART CERAMICS I

A GLOBAL SESSIONS 3 & 4 APPROACH

Objectives

ARTIJISTORY ART PRODUCTION RtCRITICISM, A1STHETICS

Consider how Work on problem Develop skills of Improve awareness symbols and images solution. criticizing work in of the ways in which reflect a period. progress. an artwork can communicate information and feeling and the problems involved in the process.

PROCEDURES Distribute clay and tools as usual. Students will begin on the assigned clay project. Teachers will need to adjust the class As students work independently on their clay forms, give individual schedule to attention. Focus on the following critique categories, encouraging students to accommodate firing and glazing activities. This talk about their work. Ask students to discuss their decisions about: unit might extend into the following unitconstruction techniques schedule as clay dries surface qualities for firing and glazing. interior/exterior function or nonfunction symbolic attributes expressive qualities

Ask students to discuss ideas derived from the examples of ceramics artworks viewed in class and others that they have studied.

Discuss differences between simple, unimaginative copying and creativeuse of ideas derived from the works of artists. Relate this discussion to the critique categories listed above. 40 1)

F-12 SESSIONS 3&4

Assist each student in producing a Direct students through the processes of unique, imaginative clay art object using finishing and later firing, decoration, and ART the highest levels of craftsmanship of glazing to complete their ceramic objects. 'Ex iiiloi:;\116N'': which each is capable. A GLOBAL APPROACH

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Maria Martinez, Native American, Vase, The Saint Louis Art Museum.

226

F-13 CERAMICS

A GLOBAL SESSION Jr APPROACH

Objectives

ART HISTORY

Practice role of Demonstrate Cultivate archaeologist/art skills (written and appreciation of historian. oral) in art differing criticism. interpretations of others' works. Appreciate others' works; speculate and reach informed opinions about their intended meanings.

PROCEDURES Place student ceramic works around classroom for evaluation activity. Direct students to select a student artwork other than their own. Ask students to interpret and evaluate the work in writing. "Read" the work using descriptive vocabulary. Respond to the following: What makes it a vessel? What makes it an art form? Speculate about the culture of the artist. Speculate on the significance from a 1,000-year perspective. How will people react to it? Can we find meaning in works other than what the artist intended? Choose volunteers to talk to the class about assumptions they made. Relate discussion to the ceramics pieces studied during Session 1 and during subsequent class sessions. SESSION EVALUATION Art Criticism: Collect and assess students' written work. Aesthetics: Note students' attention to the comments of their peers.

F-14 6 27 Unit Evaluation ART

A GLOBAL APPROACH

Upon completion of this unit, students:

ARTHISTOR ART PRODUCTION ART CRITICISM

Were able to place Demonstrated Were able to Were able to the examples of knowledge of clay- describe and analyze express informed artworks in construction and images of artists' opinions regarding chronological decoration works and the works the significance, order. techniques. from their peers and value, and meaning interpret the makers' Recognized Created a of ceramic art. intent. cultural orientation meaningful, Evaluation is of artworks as symbolic ceramic Participated in ongoing as the evidenced in test. vessel. discussions and teacher assesses test activities using results, reads student appropriate writing assignments, vocabulary. observes class participation, and Practiced critiquing reviews and own work as it discusses notebooks progressed. and portfolios individually with each student. The completed ceramic vessel is a record of learning and progress.

EXTENSIONS Compare Bernini's chair with Richard Shaw's couch. Shaw's couch is illustrated and discussed in The Eloquent Object and is concerned with"the transformation of substance to thought." Studentsmay then create clay furniture, giving form to their own thoughts.

Gather several postcards from various cultures (i.e., Greekurns, Ming ware, Italian majolica, pre-Columbian pots, etc.). Cut the cards intopieces or "shards." Have the students role-play archaeologists and art historians.

F-15 226 Discuss their roles, decision-making VOCABULARY processes, and results. Asian Art. Art from Far Eastern countries such as China, Japan, Korea, and India. Learn about Japanese tea ceremonies A GLOBAL by creating individual tea-serving Baroque. The style dominating European APPROACH art and architecture throughout the vessels. The Japanese believe that the seventeenth century, and persisting, in tea ceremony (cha w yu, in Japanese) some places, as late' as)750. It was a involves the union between discrim- dynamic, theatrical style that used realism, illusionism, ornate forms, and a inating individuals and beautiful blending of the arts to achieve its effects. ceramic tea vessels. Discuss the mean-The style is found in its purest form in the ing of this Japanese custom. Create a work of Gianlorenzo Bernini. ceramic tea ceremony vessel symbolic Bernini (1598-1667) and Francesco of the students' culture or region. Borromini (1599-1667). Fused architecture and sculpture; by their use of Obtain a copy of Puzzles About Art: light and space created feeling of grandeur for the beholder. An Aesthetics Casebook by Battin, Ceramics. The art of making objects in Fisher, Moore, and Silvers, St. Martin'sclay and firing them. Wares of Press, New York, 1989. Read and earthenware and porcelain, as well as have students respond to "Pile of sculpture, are made by ceramists. Pots may be made by the coil method, the slab Bricks" (p. 13). This is an interesting method, or some other manual approach to posing the question: "Is techniques, or on a potter's wheel. The making and decorating of pottery is it art?" among the most ancient of the arts.

Toshiko Takaezu, 3/4 Moon, Museum of Fine Arts, Boston.

F-16 2 2:i Effigy. A painted or sculpted Model for aMantel Clock,French, Paris representation of a person. circa 1700, terra cotta, enamel metal ART plaques, 78.7 x 52.1 x 24.2 cm (2 ft. 7 in. x Functional Object. Designed for use. ft. 8 1/2 in. x 9 1/2 in.), available from ,Ex',PORATioN-; The J. Paul Getty Museum, Malibu, CA. Funerary. Of or suitable for a funeral or A GLOBAL burial. Guardian Lion,China's K'ang Hsi period, APPROACH Glyph. A symbolic figure or a symbol. 1662-1722, enamels on porcelain biscuit, 53.6 cm, purchase 31:1917, available Iconography. I. A set of images or through The Saint Louis Art Museum. symbols conventionally associated with a subject (e.g., the iconography of Pottery,The National Gallery of Art, Christianity); also, the imagery used in a Washington, D.C. (slide program), Cat. work of art, by a painter, or in art devoted#026. to a particular subject (e.g. the BIBLIOGRAPHY iconography of Western religious art). 2. E. Cooper,A History of World Pottery The meaning assigned to a set of images (New York: Larousse & Co., Inc., 1972, or symbols according to a particular 1981). (A concise survey of pottery from convention or motif. A thematic or visual ancient civilization through the modern element in a work of art, usually era.) recurrent. In design, a repeated form or patterngeometrical, naturalistic, or W. Cox,The Book of Pottery and Porcelain stylized. (London: Crown Publishers, 1968). (A comprehensive and detailed history of Nonfunctional Object. Designed without the art of ceramics.) a use. 100 Masterworks from The Detroit Institute Oeuvre. French word designating an of Arts(New York: Hudson Hills Press, entire body of work by an artist. 1985).

Relief. In sculpture, any work in which Ceramics Monthly Magazine. the figures project from a background. SUGGESTED IMAGES Sculpture in the round. Freestanding, Dragon of Marduk. Neo-Babylonian, three-dimensional sculpture, as opposed reign of Nebuchadnezzar II (605-562 to relief. Sculpture in the round has form B.C.), glazed brick, 115.6 x 167 cm (45 1/2 on all sides and may be viewed from any x 65 3/4 in.), Founders Society Purchase angle. (31.25), The Detroit Institute of Arts. RESOURCES "In an extensive building program, King Information on and works by Maria Nebuchadnezzar II INe-bok-khad-nez-erl Martinez may also be found in the cat- embellished his capital with palaces, alogue, National Museum of Women in the temples, a monument l processional Arts, New York: Harry N. Abrams, 1987. avenue, and a wall with several gates. Ball Court with Spectators,Mexico This gateway led through the fortification (Nayarit), 100 B.C.-A.D. 250, pottery, 17 walls of the inner city to the religious 3/4 in., Stephen Carlton Clark Fund, B.A. center. It was decorated with molded 1903, Yale University Art Gallery. bricks covered with colored glazes, forming images of dragons and bulls, in Couch, 1965, Richard Shaw, earthenware alternating tiers, standing in relief against painted with acrylics, 11 x 27 x 12 in., gift a dark-blue background. This dragon was of Rena Bransten, Oakland Museum, a mythical creature sacred to Marduk, the Oakland, CA. principal god of the city of Babylon, and displays the characteristics of several Information on pre-Columbian pottery animals: the head of a serpent with a may be found in the Dumbarton Oaks viper's horns, a body covered with scales, Research Library and Collection, the front feet of a feline, the hind feet of a Washington, D.C.. or in the Natural bird of prey, and a scorpion's tail. History Museum of Now Mexico.

F-17 °ti "The Ishtar Gate and its processional jaguar head of the plumed headdress, ART way, lined with glazed brick images of associates it with Cocijo, a rain god. Most .EXPIX)RATION lions, were created to protect the city, depictions of Cocijo illustrate him with an impress the visitor, and glorify the abstract, masklike face. Scholars have A GLOBAL Babylonian king. It must have also awed recognized some 33 different deities the prisoners of war (among them the among Zapotec funery urns. Those APPROACH Hebrews) that Nebuchadnezzar's army associated with the rain god are most brought back as captives from their many plentiful." foreign military campaigns. Nebuchadnezzar's campaigns, From unpublished pre-Columbian transportation of captured people, and Collection Handbook, The Detroit the eventual destruction of Jerusalem are Institute of Arts, 1989. recorded in the Book of II Kings (24:10-16,Pillow. Korean, Koryo (Kor-yo) Dynasty, 25:8-15)." late twelfth century, glazed stoneware, 12 From 100 Masterworks from The Detroit x 23 cm (4 3/4 x 9 in.), Founders Society Institute of Arts (New York: Hudson Hills Purchase, New Endowment Fund and Press, 1985), pp. 26-27. Benson and Edith Ford Fund (80.39), The Detroit Institute of Arts. Zapotec Urn. Monte Alban III, Oaxaca, Mexico (A.D. 400-700), terra cotta, 44.4 x "Korean celadons (sell-ah-don) of the 36.6 x 25.4 cm (17 1 /4 x 14 x 10 in.), gift of Koryo period (A.D. 918-1392) are among Arnold Glimcher in honor of Michael Kanthe most celebrated of Asian ceramic (77.99), The Detroit Institute of Arts. wares. It is believed that the popularity of this ware is due to the blue-green glaze, "Thousands of ceramic deity urns have reminiscent of precious jade. Celadon is a been recovered from tombs built into the Western descriptive term that refers to rocky acropolis of Monte Alban in the distinctive color and derives from the Mexico. Tombs in which rulers and seventeenth-century French play L'Astrec priests were buried were located beneath (lah-stree), in which a character named the Grand Plaza, which was approached Celadon is costumed in gray-green by a staircase, and included an apparel. antechamber and funeral chamber. Deity urns were often placed in niches located "Koryo celadons were produced for the in the facade of the tomb and along the court and aristocracy in government- inner walls to assist the deceased in controlled potteries located in the major afterlife. Additional urns and funerary kiln centers of Kangjinn and Pusan, at the offerings were arranged on the floor of southern tip of the peninsula. Celadon the tomb. wares were produced from stoneware bodies covered with a transparent "The effigy urn is constructed of broad feldspathic glaze and fired in a reduction slabs of hard-baked, fine-grained, light- kiln to approximately 1,200 degrees gray clay, without slip or painted centigrade. The color, which ranges from decoration. The form is cylindrical, with a soft gray-blue to brilliant blue-green, is large effigy figure constructed on one dependent upon the amount of oxygen side. The finely modeled portrait face of present and the iron content of the glaze. this vessel has a wide, flat brow and cheekbones combined with a delicately "The celadon pillow in Detroit reflects the narrow nose and chin. high degree of craftsmanship attained by the anonymous Koryo potters. An "Zapotec funerary urns represent either elegantly styled headrest designed to deities or priests dressed to impersonate preserve elaborate hairstyles, this piece gods. Tomb offerings are often composed consists of a concave, tongue-shaped of sets of effigy urns, a large deity surface supported at each end by a lion accompanied by a set of smaller sculpted in the round, and a base on attendants of the same type, for example. which the lions stand. Although the lion The glyph on the headdress of this deity motif is not indigenous to Korea, it is urn, which is in the center of a stylized important in Buddhist iconography and

F -18 231 is frequently found in these two angels made of stucco, except for predominately Buddhist court- their terracotta feet and wings. commissioned wares. The lion is the ART symbol of royality. Buddha was of royal "This model provides a glimpse of ancestry and is referred to as a lion Bernini's working methods. Bernini made among men. The top of the headrest is numerous sketches and three- A GLOBAL decorated with motifs produced by an dimensional models to show his patron, APPROACH intricate technique using inlays of Pope Alexander VII, the progress of his different colored slip. Inlaid celadons are project. In April 1658, according to a a uniouely Korean contribution believed recently discovered document in the to have been developed during the Chigi archives, Bernini brot 3ht what second quarter of the twelfth century. Theprobably was the Detroit model to the Detroit pillow exhibits the rare technique pontiff; in form, it is very close to the final of reverse inlay as well as standard inlay. design." "Pillows with lion supports are so rare From 100 Masterworks from The Detroit that only four Koryo examples are Institute of Arts (New York: Hudson Hills known. The Detroit pillow is further Press, 1985), pp. 142-143. exceptional in that it is the only extant Double Effigy Vessel. Mangbetu, Zaire, example to combine the techniques of late nineteenth century, earthenware, H inlaid decoration and modeling in the 62.2 cm (24 31/64 in.), Founders Society round." Purchase, Eleanor Clay Ford Fund for From 100 Masterworks from The Detroit African Art (76.80), The Detroit Institute Institute of Arts (New York: Hudson Hills of Arts. Press, 1985), pp. 64-65. "The figurative pottery of the Mangbetu Model of Chair of Saint Peter. of northeastern Zaire has been well Gianlorenzo Bernini, Italian (1589-1680), known to scholars and collectors of terra cotta and stucco, H 58.4 cm (23 in.), African art since the beginning of the Ralph Harmon Booth Bequest Fund century. The Mangbetu-speaking peoples (52.220), The Detroit Institute of Arts. lived between the forest and savanna, where peoples of three major linguistic "This terracotta model is the only groups shared, for centuries, certain surviving sculptural sketch for the Chair linguistic, artistic, and other cultural of Saint Peter, the great Baroque traditions. The figurative pottery style is monument that is the focal point of the naturalistic, depicting the actual apse (eastern end) of Saint Peter's in elongation of the Mangbetu heads, which Rome. Bernini designed the magnificent were wrapped at birth to form a high gilded bronze throne as a shrine to encasecrown. The opening of the pot, at the top, the most venerated relic in the basilica, is often formed by the Mangbetu the simple oak chair from which, by womar.'s coiffure, which is braided into a tradition, Saint Peter himself had trumpet-shaped, flaring hairstyle. Facial preached. The project, one of the most features are full and sensual, and the ambitious and complex undertaken by head rests on a slender neck and rounded Bernini, represents the crowning base. In their elegance and in their air of achievement of his career. grace and nobility, these pots conform to the elegant image of the Mangbetu "The reliefs on this model refer to the people described by Europeans as far most significant moments in the life of back as the 18 /Os. The fact that it is very Saint Peter: Facing the viewer on the back difficult to pour a liquid from most of is Jesus' charge to Peter, 'Feed my sheep' these pots is evidence that they were (John 21:16-17); on the left side, the giving nonfunctional. of the keys to Peter (Matthew 16:19); on the right, the washing of the disciples' "Like other types of Mangbetu feet (John 13:5-17); and below the seat, theanthropomorphic art, the pottery appears miraculous draught of fishes (John 21:1- to have been created during a relatively 14). Flanking the seat of the throne are brief period that coincides with the onset Pimi of Belgian rule in northwestern Zaire. and appreciation for Native American Jockeying for power occurred while the art." Belgians were tightening their grip on the region and precisely when the great early From "The Art of the North American collections of Mangbetu art were being Indian, " The Saint Louis Art Museum formed. Chiefs, to maintain their information ::tieet. reputations as men of importance, often 3/4 Moon. Toshiko Takaezu (1985), presented anthropomorphic pots as gifts stoneware, matte white glaze with copper to passing officers. It is clear that this brush design, 18 x 21 x 23 cm (7 x 8.2 x 9 genre was based on pre-existing aesthetic in.), gift of Mary-Louise Meyer in traditions found in many parts of the memory of Norman Meyer, Museum of region. It flourished in its 'classic' form Fine Arts, Boston, MA. until the Second World War and has now virtually disappeared." "Toshiko Takaezu is one of the leading American clay artists who has used From the unpublished African Art traditional functional forms, such as pots Collection Handbook, The Detroit and vases, and transformed them into Institute of Arts. nonfunctional sculptural forms. Vase. Maria Martinez, San Ildefonso, "Takaezu entitled this piece 3/4 Moon New Mexico (1940), black earthenware, because of its oblate form. Its glaze, freely The Saint Louis Art Museum. dashed and brushed across the surface, is "Indians in the Southwest still make a rich combination of matter white and pottery much in the way their ancestors copper, opaque in parts and elsewhere did. Maria Martinez, a potter from the translucent. The seemingly random but village or pueblo of San Ildefonso in New controlled handling perfectly matches the Mexico, at the request of an archaeologist,shape and body of the ware, clearly used an excavated shard as a guide to evoking moon imagery or lunar reconstruct a pot by techniques that had landscape. not been practiced for 700 years. In 1919, "Takaezu left small pieces of clay inside Mrria and her husband discovered the the work so that it makes small sounds tec linique of decorating polished black when moved." pottery with dull 1,1ack designs. Using clay dug from nearby hills, Maria built From M. Manhart and T. Manhart, The this vase entirely by hand. She began by Eloquent Object (Seattle: Philbrook winding coils of clay around a base. The Museum of Art, Linversity of sides of the vase were then smoothed and Washington Press !987), p. 18. shaped with tools made from gourds, shells, or stones. Once it dried, the vase was polished with stones and painted with a brush made by chewing the end of the leaf from the yucca plant. The finished vase was then baked in fire, which was smothered. This reduced the amount of oxygen in the fire, turning the red clay black. This black earthenware vase, with its stylized horned serpent design, contrasts with the dull background. Maria Martinez died in 1980, but the people of her pueblo and neighboring pueblos continue to produce black earthenware. By the end of her life, she had established an international reputation, having exhibited and received awards in America and abroad, provided a secure economic livelihood for her 2 community, and created a new audience

F-20 Painting Unit Overview ART Representing nature through landscape painting is prevalent in both Eastern and ,XPLOYAT I OW Western cultures. Historical analysis of selected works illustrates similarities and A GLOBAL differences among paintings of these regions of the world. This unit of study APPROACH focuses on the descriptive and poetic relationships of the painter and natural subject matter. Creative imaging and drawing from observationserve as vehicles for inspiring students to paint with watercolor andopaque media. With an emphasis on space, transparency, and opacity, students willcreate realistic and imaginary landscapes. Unit Goals ART iiisT6gy ART,-kOD&'TIOWI ftiznicism

Understand that Increase Build upon prior Increase sensitivity artists have always production skills experience of and expand their used nature as a using watercolor description and ana concept of nature in source of and opaque media. lysis and be able to art. inspiration. apply that knowl- Draw from Differentiate edge in comparing Recognize and observation, between standards of and contrasting two analyze landscapes creating the illusion beauty in Eastern dimensional from Eastern and of space and form. and Western Western cultures. compositions. Learn the process cultures. Incorporate into of creative imaging. Examine their critical differences and vocabulary the similarities between concepts of illusion of imitative and space and form and imaginative art the qualities of transparent and (.,iiindscapes/ landscapes) opaque.

MATERIALS Slides or reproductions of Eastern and Western landscapes andnature paintings.

Handouts of Eastern poetry and Western quotations includedin this unit. Watercolor and opaque media, paper, brushes, and selected tools. Terrariums/aquariu ins/bonsai plants. Rocks/leaves/sticks.

Written materials about the unit content; critical commentary byTheodore Wolff, art critic.

F-21 2 3 4 SUGGESTED IMAGES Reeds and Cranes,Suzuki Kiitsu, Japanese (1796-1858), Edo Period, color on gilded The following works of art may be used silk. as examples for this unit. Teachers should adapt this material for both The Bay,Helen Frankenthaler, American A GLOBAL teacher and student use, conducting (1928 ), acrylic on canvas. APPROACti additional research as needed. Other Alpha -Tau, Morris Louis (1921-1962), appropriate works may be substituted. acrylic on canvas. Early Autumn, Qian Xuan, Chinese (1235 Winter Landscape in Mom light,Ernst after 1301), Yuan Dynasty, hand scroll, Ludwig Kirchner, German (1880-1938), ink and color on paper. oil on canvas.

Suzuki Kiitsu,Reeds and Cranes,The Detroit Institute of Arts.

F-22 PAINTING ART ExPLOIUTION

SESSION 1 A GLOBAL APPROACH

Objectives

ART HISTORY ART 'PRODUCTION ART CRITICISM :1'. AESTHETICS 'Extend knowledge Practice watercolor Extend vocabulary. of Eastern nature techniques. painting. Extend visual Paint from concepts. observation. Capture the illusion of form.

PREPARATION Prior to arrival of students, display landscapes. Have terrariums,aquariums, and bonsai plants, as well as other natural subject matter, suchas rocks, leaves, sticks, and the like. We decided to engage Organize for watercolor instruction. students immediately in problems of painting PROCEDURES before introducing historical material. Discuss the idea of painting from observation of nature. Show Japaneseor Chinese paintings of natural objects and briefly discuss Easternpainting techniques.

Demonstrate watercolor techniques (transparent medium,wet on wet, dry brush, frisket, spatter, layering of paint, overlapping of color).Assume that this demonstration is a review withsome more sophisticated applications. The previous instruction that your students have had will determine thelevel of your demonstration and instruction. Students will practice the techniques.

(2 3 6 Distribute rocks, leaves, and sticks (no Ask students to select some of their ART pencils, use brushes of differing sizesbest or most interesting work to save XPLoRA7ON and shapes, sponges, blotters). Studentsin their portfolios. They might be A GLOBAL will observe natural subject matter andencouraged to make notes on the APPROACH continue watercolor practice for watercolors or in their notebooks. creating different effects with tools and paint. conveying differences in surface of natural forms. creating illusion of form.

&:r."

Qian Xuan, Early Autumn, The Detroit Institute of Arts.

F-24 PAINTING ART XPEplotr6.2,:

SESSION 2 A GLOBAL APPROACH

Objectives ART PRODUCTION 'kT. CRITICISM'

Understand that Practice watercolor Extend vocabulary. Respond to Japanese and techniques. Japanese poetry Chinese landscapes Extend visual Paint from about nature. are read from right concepts of painting observation. to left. and painting styles. Relate poetry to Capture the painting. Understand that illusion of form. early artistic training n Japan and China encourages children to master drawing by observation and repetition.

PROCEDURES Show wide variety of Eastern landscapes. Refer to landscapessuggested for this unit, along with your selection of additional slidesor reproductions. The writers wanted the Discuss historical information on selected images. (See writtenmaterial at end painting unit to focus on nature. Landscape of unit.) was tlw vehicle we chose, recognizing the Select 3-5 of the identified images for critical evaluation. Considerthe followingpossibility for abstract issues as a guide for your class discussion (oralor written responses). and realistic expression.

Look at the painting from right to left and follow the visualpath. Identify subject matter from nature. Is illusion of space conveyed? How? Transparent or opaque quality? Describe uses of color. Describe line qualities. Styles? Where is the viewer? How does it reflect reality? Is it a true -to -life experience? 238 F-25

` ..kINMEMMEMEIN Is it beautiful? poems. Do they understand them? Do T Is it similar to something you have they like them? Why? Do they t'ENPLORATION experienced? recognize them as Eastern? How do A GLOBAL Does it hold your interest? they relate to Eastern paintings? APPROACH Do you want to go further into it? Arrange terrariums, aquariums, and Use three adjectives fo describe one bonsai in strategic places. aspect of each image. If you were given this painting, Continue to paint from observation. would you hang it in your room? As an extension, consider having the Explain. students write and display their own poems with their paintings. Read Asian poems about nature, noting how focused and simple they Remind students to select and save are. paintings for their portfolios. Encourage them to write their Ask students to imagine the poems thoughts and observations in their as pictures. notebooks. They might copy a Ask for students' responses to the Japanese poem and write a poem of their own.

The wild geese In a gust of wind the white dew returning On the autumn grass Through the misty sky Scatters like a broken necklace. Behold they look like A chestnut falls A letter written The insects cease their crying In faded ink! Among the grasses.

Tsumori Kunimoto Basho (eleventh century) (seventeenth century)

[From R. Lewis, ed., The Moment of Wonder: A Collection of Chinese and Japa- nese Poetry (New York: Dial Press, 1964.)]

F-26 PAINTING ART

SESSION 3 A GLOBAL APPROACH

Objectives 'ART HISTORY:: AESTHETICS :';::".

See relationship Experience creative Apply descriptive Form mental between their own imaging as a process and interpretive images and use work and the art of for developing ideas vocabulary to intuitive imagery. other painters of in visual form. .magined landscape. real and imaginary landscapes.

PROCEDURES Create an environment that will allow students to drawupon their own store- house of experiences by guiding them throughan imaging process. Focus on: Since students have Relaxation, controlled breathing, closed eyes, quiet atmosphere, selectedback- different learning styles, this activity was ground music (nature tapes, sounds of the sea), goodposture. designed to honor the Have the students remember the terrariums/aquariums they painted the day sensory learners as well as to "stretch" all before. Have them imagine a special place they would liketo be .sit .. ... rest. learners' capabilities. Elaborate on sensory properties: smell the aromas.. . breathe the air ...hear sounds.. . seethe colors. ..forms... textures. Have them "tune in" to the landscapenatural forms, shapes, feeling ofspace. Suggest that the students visualize the feeling and the sight of landscapein their minds...and when they are ready...have them return to the room (don't rushtake time). Students will paint with watercolors, creating their personal landscapes. Relate this exercise to the works of painters who relyon imagination, who create imaginative landscapessuch as Miro, Klee, de Chirico, Dali, Frankenthaler, Kirchner, and othersasking students touse descriptive and interpretive language as they view such works. Relate this exercise to the moods and techniques of Eastern landscapepainting. F-27 2 4 (i A

EX l' LORATION

4,10_ rJ ,z, '. ..tr 7- ' -'.'.1.`: :1",12V,ft* f.. Fr _ " . e.114' 4 , =;,.,,s't

,q, .3- z,-,,':' ,,e, '-^,"" 9-1-2',4.4:i4:5rVii.; 2, V. . -1.;", ) .1.., , '' .',.4 1"X,C '- .1. s ,'`."

Helen Frankenthaler, The Bay, The Detroit Institute of Arts.

F-28 PAINTING ART t.X.101:".tiON..!

SESSION 4 A GLOBAL APPROACH

Objectives AESTHETICS

Observe Western Practice painting Apply new art Examine personal landscapes and with opaque vocabulary in a preferences. learn historical medium. critical examination Consider difference contexts. of works of art. between Eastern and React to the Western painting. Theodore Wolff quotation about Alpha-Tau.

PREPARATION Gather a selection of images showing landscapes in bothWestern and Eastern styles.

Prepare handout of Theodore Wolff's writing about Alpha-Tau.(See p. F -35- 36, Suggested Images, Western Art.) PROCEDURES Show a wide variety of Western landscapes, includingthose provided for in this unit (slides, images, cards, posters).

Discuss historical context on selected images. Select 3to 5 images, including both Eastern and Western works, for critical examination. Consider: subjects from nature styles illusion of form and space transparent and opaque uses of color line qualities details points of view 2 4 2 realistic/abstract

F-29

am. imaginative/ representational "Art is life seen through a ART Is it beautiful? As seen from an temperament." Emile Zola tXI ?if() Eastern perspective? Western per- "Nature contains the elements, in spective? A GLOBAL color and form, of all pictures, as the APPROACH Discuss backgrounds of artists and keyboard contains the notes of all painting styles. Distribute handout ofmusic. [But] to say to the painter, that Theodore Wolff quotation about nature is to be taken as she is, is to say This is an opportunityLouis's Alpha-Tan. to the player, that he must sit on the to integrate content piano." James McNeill Whistler with the language artsSeek reactions to the quotation curriculum. about landscapes cited in the brief (concept of illusion) "The same historical information on Alpha-Tan. objects appear straight when looked at out of the water, and crooked when Student will select a painting and in the water; and the concave use three adjectives to describe one becomes convex, owing to the illusion aspect of this image (e.g., pearly, soft, about colors to which the sight is opalescent sky). Ask: liable. Thus every sort of confusion is What feeling does it evoke? revealed within us; and this is that weakness of the human mind on If you were to take this painting which the art of painting in light and home, would you hang it in your shadow, the art of conjuring, and room? Explain (oral or written). many other ingenious devices This activity also might serve as one impose, having an effect upon us like part of the evaluation of student magic." Plato's Republic X progress. "Art is a harmony parallel to nature." Students will be helped Distribute materials for painting Paul Cezanne to relate art to other with opaque medium. Students will "Art is a delayed echo." George aspects of school and create landscapes with opaque paint; life IT pondering the Santayana meanings of consider foreground, middle ground, statements such as background, infinity. Consider the these. differences between opaque and transparent mediums. If time permits, the following quotations could be used as inspiration for Western landscapes. "After having spent years in striving to be accurate, we gust spend as many more in discovering when and how to be inaccurate." Samuel Butler

F-30 PAINTING ART

SESSION 5 A GLOBAL APPROACH

Objectives

'ART. CRITIC'S AESWHFTICS. "t

Play sorting game 'Complete opaque Compare and Discuss problems of to show learning in paintings. contrast selections of intercultural art history. Eastern and Western interpretations (crane paintings. has religious significance in Chinamay not in other cultures).

PROCEDURES 'Complete painting with opaque medium (nomore than 1 /2 period). Asian painting Display 10 selected art images previously used in discussions.Have the studentstechniques and subject each select one Eastern and one Western painting and matter are compared to respond in writing on thethose of the West to following: encourage students to recognize cultural Compare and contrast subjects from nature differences and Styles similarities. Illusion of form and space Transparent and opaque Uses of color Details Line qualities Points of view Realistic/abstract Imaginative/representational Is it beautiful? Provide historical context as you recall from discussionsand readings. 2 4 4

F-31 Direct sorting activity using the Students should give their ART same images as follows: rationales for decisions. ExPLoRATiow Label one wall of the classroom Successive students may select A GLOBAL "East" and one wall "West." another image or may debate and APPROACH change location of a prior placement, The students should take turns but must give reason. sorting images by Eastern and Western artists, placing the image on Take turns moving images until all We designed thisthe proper wall. have been properly placed. activity as a game to generate discussion as Monitor for accuracy and probe if students take a stance on what they believe. students leave a work wrongly placed for too long.

Morris Louis, Alpha-Tan, The Saint Louis Art Museum.

F-32 Unit Evaluation ART A variety of evaluation devices including examination and discussion of portfolio and notebooks individually with students could be used toanswer the following A GLOBAL questions about student progress: APPROACH

RT- PRODUCTION -ART CRITICISM.-'

Are students able Can students Can students Can students to recognize the demonstrate ability discuss concepts of respond in some effect of nature on to use transparent space and form, depth to the both Eastern and and opaque media? transparent and question, "Is it Western artists? opaque, in relation to Do they willingly beautiful?" noting the art of this unit? Are they able to participate in the cultural differences? give appropriate imaging process and Have students Are students able to rationale for use imagination in extended vocabulary participate in discussions about their own paintings? to describe; compare, discussions about Eastern and Western Can they contrast, and analyze personal preferences paintings? art images in written demonstrate ability to selected images? and oral form? (Students might be to convey illusion of Are they able to asked to write one or form and space in (Note: If further identify and two paragraphs their paintings? assessment of student appreciate about each in an comprehension is (View students similarities among essay-type exam.) desired, the teacher finished paintings paintings about may devise a match- Can students and samples in their nature from different the-word[sl-to-the- distinguish between portfolios. Discuss regions of the world? images quiz. real and imaginary progress with landscapes in the students.) Ask students to write work of historical a few paragraphs of artists? critical review of a selected image, using an assigned selection of vocabulary words.)

EXTENSIONS Advances in technology have greatly changed the effects of distanceon world relationships. As o 1r society becomes more global, will strong cultural distinctions be as evident in works of art? Art News (47, No. 5, May 1988) offers two articles that address this issue. "A New Age for Ancient China" (pp. 118- 122) and "Two Steps Forward" (pp. 123-127) could provide insight fora class discussion. 2 4 ti

I- 33 Read and discuss "The Painter and VOCABULARY ART the Photographer" (p. 20) in Puzzles Asian art. Art from Far Eastern countries such as China, japan, Korea, and India. About Art: An Aesthetics Casebook. Ellipse. A plane curve. A GLOBAL To extend discussion on Plato, see APPROACH Genre painting. Painting representing page 5 of Puzzles About Art: An some phase of everyday life, such as a Aesthetics Casebook. domestic interior or a rural or village scene. Study the murals of Mexican painters Other evaluation Glyph. A symbolic figure or a symbol. Diego Rivera and Frida Kahlo. A strategies might include focus on Latin America offers anoth- Iconography. 1. A set of images or posing a specific symbols conventionally associated with a question for smaller perspective for students learning subject (e.g., the iconography of group discussions, or about painting. The Mexican Mural Christianity); also, the imagery used in a asking students to write work of art, by a painter, or in art Renaissance 1920-1924 by Jean Chariot a paragraph on a devoted to a particular subject (e.g., the specified question about (Yale University Press, 1963) is an iconography of Western religious art). 2. art, or discussing The meaning assigned to a set of images students' notebooksexcellent resource on the history of the Mexican mural movement by an or symbols according to a particular with them individually. convention. artist who was an active participant.

Ernst Ludwig Kirchner, Winter Landscape in Moonlight, The Detroit Institute of Arts. 111111111 F-34 `2,i7

"V& Impressionistic. Of or pertaining to exhibition at the Whitney Museum of impressionism; based on impression as American Art. opposed to reason or fact. ART Peonies and Chrysanthemums, Sakai Motif. A thematic or visual element in a Hoitsu, painted vertical screen, 75 x 25 work of art, usually recurrent. In design, cm (29 1/2 x 10 in.), reproduction A GLOBAL a repeated form or patterngeometrical, available through New York Graphic APPROACH naturalistic, or stylized. Society: Fine Art Collections, Museum of Fine Art, Boston. Oblate. Having the shape of a spheroid such as the earth. Wheatfields, Jacob van Ruisdael, Dutch, 1628-1682, 58 x 75 cm (22 3/4 x 29 3/4 Oeuvre. French word designating an in.), reproduction available through New entire body of work by an artist. York Graphic Society: Fine Art Painting. In art, the creation of a work of Collections, Metropolitan Museum of aesthetic import by the skilled applicationFine Art, Syracuse, NY. of paint to a surface or ground. The Reproductions of landscape paintings by principally accepted fine art techniques Albert Bierstadt are available through for permanent easel and mural painting The Shorewood Collection, Shorewood are oil, tempera, watercolor, gouache, Fine Art Reproductions, Inc., 27 Glen Rd., pastel, polymer, encaustic, and fresco Sandy Hook, CT 06482. Also available painting. from the Yale University Art Gallery is a (From American Heritage Dictionary, see slide of Yosemite Valley. resources.) BIBLIOGRAPHY RESOURCES S. E. Lee, A History of Far Eastern Art Michigan Essential Goals and Objectives for (New York: Harry N. Abrams, 1964). Arts Education K-D, Michigan State Board of Education, 1990. L. C. Goldsmith, Watercolor Bold and Free (New York: Watson-Guptill, 1981). American Heritage Dictionary, second A. Martin, American Realism: Twentieth- college edition, Houghton Mifflin Co., Century Drawings and Watercolors (New Boston, 1982. York: Harry N. Abrams, 1986). American Light: The Luminist Movement 1850-1875, National Gallery of Art (film) SUGGESTED IMAGES cat. #139/cat. #VC139, National Gallery WESTERN ART of Art, Washington, D.C. Alpha-Tau (1961). Morris Louis (1912- 1962), acrylic on canvas, 259.1 x 594.5 cm Winslow Homer: The Nature of the Artist, (102 x 234 in.), The Saint Louis Art National Gallery of Art (film) cat. #148, Museum. National Gallery of Art. 'Born in Baltimore, Maryland, Morris Wivenhoe Park, John Constable, color Louis studied at the Maryland Institute of reproduction, cat. #D606, National Fine and Applied Arts, but left shortly Gallery of Art. before graduation. In 1947, Louis married A Wooded Landscape, Meindert Hobbema, and moved to Washington, D.C. A color reproduction, cat. #D61, National determined and solitary painter, he began Gallery of Art. work early in the morning and worked until dusk. In 1952, he met and Iris, Tulips, Jonquils and Crocuses (1969), befriended another Washington painter, Alma Thomas, acrylic on canvas, 60 x 50 Kenneth Noland, with whom he shared in., The Holliday Collection, published in his ideas. Louis entered a period of major the National Museum of Women Artists accomplishment in 1954. Inspired by the catalogue (New York: Harry N. Abrams, nontraditional application of paint in the 1987). Alma Thomas was associated with works of Jackson Pollock and Helen Washington color painters of 1970s and Frankenthaler, Louis gave up traditional was the first black woman to have a solo easel painting and began to stain lengths

F-35 of canvas with acrylic paint. Throughout older paintings." [Personal ART his career, Louis destroyed many of his correspondence with Theodore Wolff] paintings that he found unsatisfactory, .x")coR Know. and, in 1955, destroyed an entire earlier The Bay. Helen Frankenthaler, American (1928- ), acrylic on canvas, 205.1 x 207.6 A GLOBAL year's work. Louis never achieved great material success or fame. His death in cm (6 ft. 8 3/4 in. x 6 ft. 9 3/4 in.), The APPROACH 1962, at age 49, cut short his promising, Detroit Institute of the Arts. and, at that time, virtually unknown Helen Frankenthaler is a contemporary career. New York painter who is best known for "This painting, Alpha-Tau, is part of a the invention of painting on unprepared series that Louis dubbed 'the unfurleds,' canvases with sponges and squeegies to which he worked on from 1960-1961 create the soft-edged and thinly colored shortly before his death. Louis consideredshapes of her abstracted images. Here, a this series of streams of paint on blank blue form meets a beige form. By entitling canvases as his most ambitious it The Bay, Frankenthaler invites the undertaking. Since Louis worked in viewer to see the form as water and shore complete privacy, it is uncertain how he from a bird's-eye view. achieved these effects. It seems he poured "The soft stain and the blot have, for a thinned acrylic paint onto a length of thirty-five years, been the principal verbs canvas supported by a kind of of Frankenthaler's pictorial vocabulary. scaffolding. By force of gravity, the paint She uses color in an improvisational, dripped onto this unstretched, unsized almost impressionistic way. The Bny is canvas. Louis manipulated the canvas one of the artist's earliest paintings in itself to control the flow of pigment. In acrylics. It immerses form within form, this painting, as in all of Louis' thus producing silhouettes and no sharp 'unfurleds,' the thinned, opaque paint edges." [Personal communication, Jan dyes the canvas, bleeding slightly along van der Marck, curator, twentieth- the edges. The rivulets of color are century art, The Detroit Institute of Arts.] arranged in banks on both sides of this huge canvas. These bright flows of color Winter Landscape in Moonlight. Ernst on the edges of the canvas draw attention Ludwig Kirchner, German (1880-1938), to its glaringly blank center." oil on canvas, 120.7 x 120.7 cm (47 1/2 x 47 1/2 in.), gift of Curt Valentin in From The Saint Louis Art Museum memory of the artist on the occasion of Resource Center Information Sheet, cat. Dr. William R. Valentiner's 60th birthday #C-18, accession #8:1968, Saint Louis Art (40.58), The Detroit Institute of Arts. Museum. "In 1905, a group of artists led by Ernst The following analysis, by art critic Ludwig Kirchner [Ernst Lood-vig Kir-x- Theodore Wolff, offers an interpretation n'r1 banded together to form Die Briicke that relates the work to traditional [dee bruk-ah] to protest the materialism landscapes: of German society and develop a new "It has always seemed to me that Morris aesthetic based upon a greater Louis' huge and wonderfully simplified communion between human beings and canvas, Alpha-Tau, was really a landscape nature. As their spokesman, Kirchner at heart! That it said much the same advocated the return to a primordial thing, and represented much the same existence as found in nature. Die Briicke vision, as Albert Bierstadt's dramatic artists developed an intense, emotional rocky mountain landscapes of the mid- style, eventually combining the simplified 19th century, and Fredrick Church's even forms of primitive art with a more grand and expansive paintings of nonnaturalistic use of vivid color. the Amazon region of South America. "Winter Landscape in Moonlight is typical But, and this is important, that it 'said' of the approach that Kirchner and other the same things without getting lost in Briicke artists sought. The painting is one the thousands of details, forms, and of a series of large mountain landscapes textures, that were so important to the that Kirchner did shortly after he took up

F-36 I residence in Switzerland in 1918. Letters horned beetle crawl amid the drying written on January 20, 1919, the day he grass. began this work, indicate that it was ART meant to celebrate the artist's removal "With an emphasis on color and a ExPikiRATIOA: from the corrupt postwar Berlin society minimum of lineardetail, the painter into a world dominated by the effectively sets the stage. A palette of , A GLOBAL maplificance of nature. Since the subject ochers, browns, and dull greens, applied APPROACH of the painting is the dawn of a new day, in layers, effectively conveys the misty as the moon pales in the lightening sky, atmosphere and crunchy texture of the work also is symbolic of the artist's drying leaves. Against this background own triumph over his illness and are set realistically depicted insects, depression of the previous few years. To glowing with translucent colors of soft convey these ideas, Kirchner heightened ink tones. Characteristic of the Chinese the grandeur and awesomeness of the painter, exact outer likeness is not sought, alpine scene by the extensive use of large but just enough detail is used to convey areas of primary colors and by the the essence of the insect. The muted color powerful sweeping brushstrokes. and restricted linear detail combine to impart a haziness to the scene, redolent "Until 1937, Winter Landscape in Moonlight with the heavy atmosphere of the last was in the collection of the Kaiser days of summer as they foreshadow Friedrich Museum in Magdeburg, autumn's approach. The illusion of space Germany. The idealism of the Briickc, as is conveyed through the thin layer of typified in this painting, was in direct grey-brown ink. conflict with the totalitarian approach to government that Hitler brought to "The painting is inscribed with the Germany in 1933; the work was signature of the famous master Qian considered 'degenerate art' and was Xuan, who was a painter, poet, and confiscated by the Nazis." scholar in the royal court. The scroll bears 57 seals, which are marks of ownership From 100 Masterworks from The Detroit and approval, and numerous colophons Institute of Arts (New York: Hudson Hills dating from the Yuan to the end of the Press, 198E), pp. 218-219. Ming period. Although the correctness of placing this scroll with the oeuvre of Qian EASTERN ART Xuan has been a topic of lively debate for Early Autumn. Qian Xuan (jen schwan), decades, there is little doubt that it stands Chinese (1235-after 1301), Yuan Dynasty, as one of the most beautiful of Chinese hand scroll, ink and color on paper, 26.7 x paintings." 120 cm (10 1/2 x 47 1/4 in.), The Detroit Institute of Arts (29). From 100 Masterworks from The Detroit Institute of Arts (New York: Hudson Hills "For nearly a millennium, Chinese Press, 1985), pp. 48-49. painters have delighted in producing small and intimate views of nature, us; Reeds and Cranes. Suzuki Kiitsu (sue- brushes and ink on hand scrolls, 112.11ging zoo-key key-eet-soo), Japanese (1796- scrolls, and screens. Most popular as 1858), Edo Period, color on gilded silk, subjects have traditionally been birds, each screen 1.78 x 3.69 m (5 ft. 9 1/2 in. x flowers, blossoming trees, insects, and 12 ft 1 1 /4 in.), Founders Society grasses. Purchase, with funds from the Gerald W. Chamberlin Foundation, Inc., Mr. and "Early Autumn is a hand scroll that Mrs. Charles M. Endicott, Mrs. Howard J. presents pond life in the fall. It is meant toStoddard, Mr. Howard P. Stoddard, and be viewed a little at a time, right to left, Mr. and Mrs. Stanford C. Stoddard keeping the end rolled up. As the scroll (79.28.#1. -2), The Detroit Institute of opens, three dragonflies feast on a swarm Arts. of midges, as frogs below make their way across withering lotus leaves. Beyond, a "Although the folding-screen format is of bee and black dragonfly hover while Chinese origin, the Japanese innovation grasshoppers, a katydid, and a long- of unobtrusive paper hinges resulted in screens with unprecedented expanses of

F-37 2 J.) nearly continuous paint surfaces. Subjects"Suzuki Kiitsu is considered by many to T previously interrupted by borders on be the last great master of the Rimpa Niq.ORATION- each panel could now be continued school, a school of decorative art inspired across the entire breadth of the screen, by native painting techniques and motifs A GLOBAL thereby providing the Japanese painter and which originated in the early with a challenging new format for bold, seventeenth century." APPROACH large-scale compositions. From 100 Masterworks from The Detroit "The crane, a traditional symbol of Institute of Arts (New York: Hudson Hills longevity and good fortune, is a familiar Press, 1985), pp. 62-63. and well-loved subject in Japanese art. As the predominant, and often the sole motif, cranes provided a popular theme within the genre of bird and flower screens throughout the Edo period. Viewing Reeds and Cranes in the traditional Asian manner, from right to left, we see a group of Manchurian cranes standing amid water reeds in various poses of calling, preening, and resting. A flock directly overhead moves the action upward and across the panels to the left screen, where cranes in flight extend across all six panels. The elliptical composition of birds spanning both screens establishes a continuous movement that is playfully halted by three diminutive rocks, anchoring the composition at the lower corner of the left screen, next to the artist's signature and seal.

F-38

imisavirtmvettekift.1... r ; Sculpture Unit Overview ART This unit focuses on the symbolic properties ofthree-dimensional art forms. -ExpLoRATioN'' Sculpture can represent a range of powerfulto subtle emotions, can elicit A GLOBAL provocative and aesthetic responses, while expressing universalor personal APPROACH reactions. Incorporating works from a variety of cultures andtimes, students can make comparisons to feelings and symbols relevantin their own lives. When creating a sculpture, the student must consider the choice ofphysical materials and construction problems while applying designprinciples to work in the round. These series of lessons are presented to challengestudents to develop personally symbolic forms and to broaden theirunderstanding of sculptural forms. Unit Goals ART CRITICISM

Learn of variations Create a three- Build upon prior Broaden in sculptural art dimensional experiences of understanding that forms in their symbolic and description and art can express a historical contexts. expressive analysis to extend wide range of sculptural form that Investigate critical capabilities. emotions, ideas, and is both skillful and ideals. symbolic expression Develop skills in original. in sculpture from interpretation of Address questions several cultures. To conceive an symbolic attributes. of definition, value, idea, select a Extend concepts of and quality in art. process, and execute Articulate symbolism in personal the idea in three- Respond to the sculpture to the preferences. dimensional form. question, "Is it art?" contemporary culture.

SUGGESTED IMAGES 1he following works of art may be usedas examples for this unit. Brief historical information about these specific works isprovided at the end of the unit. Teachers should adapt this material for bothteacher and student use, conducting additional researchas needed. Other appropriate works may be substituted. Ideally, the examples should be actualsculptures, not merely reproductions.

Epa Cult Mask, Bamgboye, Nigeria, Yoruba, active1920s-1930s, died 1978, wood. Siva Who Bears the Crescent Moon, Tamil Nadu, Indian,Chola Dynasty, bronze. Oath-Taking ligit re, nkisi n' kond i, Western Kongo,Mayombe, circa 1875-1900, wood with screws, nails, blades, cowrie shell, and other material.

Rain, Avard T. Fairbanks, American (1897-1987), radiatorornament for the Dodge Ram automobile, circa 1936.

F-39 :1;

Griffin, Avard T. Fairbanks, cast model Canoe ProwCharm, Solomon Islands, central for automobile hood ornament. group, Melanesia, wood, mother-of-pearl, and glass. Gmcehoper, Tony Smith, American (1912 1981), sheet steel. Giant Three-Way Plug, Claes Oldenburg (1929 ), Sweden, mahogany venr. Maize God Receiving a Human Sacrifice, Mexico, Veracruz Culture (A.D. 400-700), basalt.

Epa Cult Mask, Yoruba, Africa, The Detroit Intstitute of Arts. SCULPTURE ART xPLotziNTE)N":

SESSION 1 A GLOBAL APPROACH

Objectives

AESTHETICS

Observe and Respond to studio Continue to Do assessment discuss artworks problem. develop vocabulary activity to representing power, of sculptural terms Make a sketch or demonstrate that energy, prestige, to enrich analysis plan to produce a everyone does not protection, luck, skills. sculptural form. respond to sculpture dynamic forces, and in the same way. other ideas or ideals.

PREPARATION Gather:

Identified art images, or actual sculpture, suchas those listed earlier. Many qualities of a Selected construction materials (i.e., mixed media,papier macho, clay, wire, work of art are not wood, fibers). niimediately apparent. Students will be helped Journals for sketches and note taking. to "see into" images and objects to find Prepare written test questionsas listed in Session 5. deeper meatinigs. PROCEDURES Show and identify three sculptural works forpreassessment activity to demonstrate diversity of individualresponse to art objects. Students will write one paragraph on the image of their choice andanswer the question, "Is it art?" Ask students to apply what they have learnedabout analysis and interpretation from the painting unit. Show all art images. Encourage discussion. Givehistorical information (found at the end of this unit) and focuson issues of Power Symbolism Energy Dynamic forces 254

F-41 Protective qualities interpreted as weird, provocative, ART Prestige disgusting, upsetting, distressing, X PLORATIQN, Luck scary, and emotional (include A GLOBAL Connect discussion to students' life. regional power symbols). Generate a APPROACH Students may find some of these list, such as artworks humorous. Refer to symbolseagle on a flag pole from everyday life that might be religious medal in a car skull and crossbones The writers specifically chose not to limit the materials to solve this production problem. We feel the strength of this unit is that students must make choices from a wide range of familiar materials and techniques.

Siva Who Bears the Crescent Moon, India, The Detroit Institute of Arts.

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F-42 BEST COPYAVAILABLE SESSION 1

T-shirt symbols and images sculptural work for the school, blind justice figure symbolizing one or more of the skateboard emblems school's values or purposes. Think Introduce the studio assignment. about how the sculptures studied A GLOBAL Students will be designing a hood have captured abstract ideas in real APPROACH ornament for their car or the car they form. Think about the symbols that wish they had. These sessions could be incorporated into the describe the production of one kind characteristics of their personal car of symbolic sculpture, a car hood hood ornament. Discuss the concept ornament. Other symbolic forms of that it is easier to do a birdmore sculpture could be substitutedfor difficult to show flight. Students may example, a maquette for a large sketch or write some ideas, in class or as homework.

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Nail Figure, Kongo, Africa, The Detroit Institute of Arts.

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F-43 T SCULPTURE EXPLOR ATION A GLOBAL SESSION 2 APPROACH

Objectives AESTHETICS Investigate use of Sketch ideas for a Consider purposes Deliberate hood ornaments on symbolic sculpture. of this and other problems of older cars. kinds of sculpture. interpretation and meaning of symbolic Practice and content. critique sketches/ ideas.

PROCEDURES Share thoughts and ideas about assignment, and, if possible, adsor photos of car hood ornaments. Talk about selected materials and construction approaches and demonstrate as necessary. Set boundaries of assignment. The student will designa hood ornament that shows evidence of creative form symbolic meaning expressive use of design elements and principles (display design criteriaon the wall, to be used as an assessment criteria) technical skills with materials

Assign preliminary sketches of possible hood ornaments ("thinking"on paper). Students will collect ideas in their sketchbookor journal. Students might know a little about old-time automobile hood ornaments and might benefit from library research. Some might bring oldcar magazines or auto restoration magazines to class. Individual critique of sketches. Students will

F-44

'Vito1:41 - SESSION 2

Select the "best" plan based on the Note: We expect high school art teachers posted criteria considering creative to relate historical information about the ART form and personal symbolic meaning. artworks provided here to their students in Identify design elements and age-appropriate ways. principles to be emphasized. A GLOBAL Consider construction techniques. APPROACH

The writers believe that the personal, symbolic meaning of the student's design is of primary importance, especially in the high school years.

Avard T. Fairbanks, Ram, Fairbanks family collection.

',yard T. Fairbanks, Griffin, Fairbanks family collection.

258

F-45 ART SCULPTURE - EIXPLORATION

A GLOBAL SESSIONS 3&4 APPROACH

Objectives ART.HISTOWY7' ARTPRODUCTION .:ART CRItICIS4T

Learn and Develop skills of Make intuitive improve skills of criticizing work in choices and working with progress. express personal selected media and preferences while techniques. creating artwork. Work on design problem.

PROCEDURES Act as a consultant to the student; monitor and critique progress as student Specific instruction inworks on the design problem to assure focus on symbolic qualities. production skills is a requirement for Demonstrate and/or individually assist with art production techniquesas disipline -based art education. needed for using special adhesives, creating armatures, and creating special surface effects or techniques for finishing. Emphasize safety. Provide instruction in studio skills and handling of materials. Students will increase their range of expressive possibilities as they master advanced production skills.

F-46

Krt. IV SCULPTURE

SESSION 5

Objectives RfETISTOR ART PiOD C. ION ART CRITICtSM AESTHETICS

Identify key Complete sculptural Display and Include, in written sculpture images. forms. critique sculptures. assignment, some personal judgments Consiaer revisions Complete written and reasons for or another sculpture. assignments, using their selection. skills of critical analysis and interpretation.

PREPARATION Duplicate the test questions. "Gather suggested images. Prepare an exhibition space. PROCEDURES Display the completed sculptural hood ornaments (ormoquettes). Ask students to try to "read" each other's symbolic meaning in theornaments. 'Display the sculpture images identified for this unit andpresent the following questions in written test form: 1. Which of the artworks shown provided the greatest influence forsolving your design problems? Explain. 2. What materials and techniques didyou use to construct your piece? 3. Discuss how you incorporated the elements and principles ofdesign. 4. How did you use symbolism in your work? Was it successful?Tell how. 5. Is it art? Defend your answer, referring to the posted criteriafor production assessment. Identify the same three artworks used inpreassessment. (Collect and assess the tests. Note especially whether studentsare able to apply new ideas from this unit as they respond to the aesthetics question, "Is it art?"

F-47 0 -- A

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*",,1`,"17a3,C7,itAt14,-,ta.',111,4111r-omnwrt,P,,' 4K1 ^ ^ - Unit Evaluation

EX T.

A GLOBAL APPROACH

Can students Were the students Can students justify Did the students identify symbolism able to create a personal preferences? broad en their in contemporary personally understanding of art Were the students culture? expressive while discussing, "Is able to describe and sculpture form it art?" as evidenced Were the students analyze their according to the by comparing able to relate creation? historical/symbolic designated criteria? preassessments and Were the students information in their Were students postassessment able to apply creative solution? able to conceive an paragraphs? interpretation and idea, select a Do students judgment skills to process,. and recognize the area their work and the execute their design of industrial or identified sculpture automobile design in three- images'? as the subject for dimensional form? art historical inquiry?

EXTENSIONS Refer to the use of totem poles by Native Americans when discussingthe artists' intent. These "sculptures" were created to be out ina natural settingeventually decomposing and returning to nature. We have placed them inmuseums. Is this the right thing to do?

Contemporary Brazilian artist Hello Oiticicawas known for his poem boxes and environments. His universal themes and metaphors provide inspiration for another direction students may take in learning.about sculpture. ("HelioOiticica: Reverie and Revolt," Art in America, January 1989,p. 111, may provide substantive information.)

°.1 44M71,771" icy:' WP,PPV: AVe t ti2.74.1 -mssv.5 VOCABULARY SUGGESTED IMAGES Asian art. Art from Far Eastern countries Siva Who Bears the Crescent Moon. such as China, Japan, Korea, and India. India, Tamil Nadu, Chola Dynasty, bronze, H 47 cm (18 1/2 in.), Founders Effigy. A painted or sculpted Society, Acquisitions Funds (80.38), The representation of a person. Detroit Institute of Arts. Functional object. Designed for use. "This bronze statue of the Hindu god Funerary. Of or suitable for a funeral or Siva (shiv-ah) was used in religious burial. processions in India. It is a strong, yet graceful, idealized statue, beautifully Glyph. A symbolic figure or a symbol. embellished with rich surface decoration, which is typical of Chola art. The Cholas Iconography. 1. A set of images or were great conquerors and able symbols conventionally associated with a politicians who ruled Tamil Nadu in subject (e.g., the iconography of south India between the ninth and Christianity); also, the imagery used in a thirteenth centuries. Siva is one of the work of art, by a painter, or in art three most important gods of Hinduism devoted to a particular subject (e.g., the (the others being Brahma and Vishnu) iconography of Western religious art). 2. and is shown here as the moon-crested The meaning assigned to a set of images god, evidenced by the crescent moon or symbols according to a particular over his right ear. His four arms and convention. three eyes show his supernatural power. Nonfunctional object. Designed without Each of his four arms carry different a use. emblems with specific symbols. The upper right hand holds the battle ax to cut the bands of ignorance; the corresponding left hand holds an antelope, symbolic of Siva's role as Lord of Creatures. Of his two main arms, the right hand forms the gesture of reassurance and the left, lowered to the hip, conveys the easing of pain and sorrow. His three eyes (the third marked vertically on his forehead) symbolize the three natural sources of light: sun, moon, and fire." From The Family Art Game, 1984, The Detroit Institute of Arts. Oath-Taking Figure. Africa, Nkisi (ne- kee-see) n'kondi (Nha-kon-day), Western Kongo, Mayombe (May-om-bay), circa 1875-1900, wood with screws, nails, blades, cowrie shell, and other material, H 116.8 cm (46 in.), Eleanor Clay Ford Fund for African Art (76.79), The Detroit Institute of Arts. "This sacred image or icon originally stood in its own small structure in a Mayombe village. It functioned as substitute chief, judge, notary, priest, physician, peacemaker, avenger, lie detector, and receiver and transmitter of Maize God Receiving a Human sacrifice, good and evil forces. Before this statue, Mexican, The Detroit Institute of Arts. evidence was given, oaths were taken,

F-50 and ceremonies of judgment were 'The attribution of African sculpture to symbolically recorded by applying tokens of individual artists is a difficult task and such ART the people involved and their problems to attributions are rare. Of the Yoruba people in specially chosen nails, which were driven into western Nigeria and Dahomey (dah- hom -ee), -Ex PLo'RATt 0 NI, the figure. The statue thus became a legal however, several master carvers are known A GLOBAL document as well as a vindictive force by name. The Detroit Institute of Arts is empowered to punish false witnesses, oath privileged to own one of the great APPROACH breakers, and wrongdoers and to protect masterpieces by the Yoruba carver society against evil powers. Bamgboye. Bamgboye was most active during the 1920s and 1930s. "The Kongo name for this type of statue, n'kondi, derives from the verb konda (to hunt). "Yoruba carvers are carefully trained in an This figure was carved from a sacred tree and elaborate apprenticeship with recognized has valuable materials attached to it, such as master carvers, who are widely known and the porcelain of the eyes and large cowrie appreciated. Masters accept commissions for shell of the navel, which forms a seal over a masks, figures, and other wooden ritual container that would have been filled with objects from a variety of Yoruba religious magical objects. Other aspects of this statue cults, and an artist produces a commissioned that contribute to its potency include the cap work according to strict requirements for each resembling those worn by ancient Kongo category of sculpture. chiefs and the attentive, aggressive stance, symbolizing a readiness to deal with the most "The Detroit mask by Bamgboye was serious and complex problems. Guardians produced for a masquerade staged by the who carved and cared for these figures were cult of Epa, a cult that celebrates the well versed in the complex lore of medicines athletic and virile strength of young men. and ceremonies. That it was an effective Muscular strength and endurance combination of theology, psychology, law, characterized the performance since the and the occult is evidenced by the fact that many extant icons of this type show extensive use.

"The compact, powerful, clean lines and expressive pose and features of the n'kondi appeal to individuals with a taste for bold and striking modem forms. To view the statue merely for its superb aesthetic qualities, however, is to overlook the sophisticated cultural milieu that brought it into being.

'The Oath-Taking Figure is attributed to a master sculptor of the Mayombe in the Shiloango River area of Western Kongo. It was brought out of Africa by a missionary in 1903 and taken to Europe, where it eventually was placed in the Museum fiir Volkerkundein, Leipzig, Germany. The Detroit Institute of Arts purchased this object from the Leipzig museum in 1977."

From 100 Mastenoorks funii The Detroit Institute of Arts (New York: Hudson Hills Press, 1985), pp. 68-69. Epa Cult Mask. Africa, Bamgboye (bahg-boy- yea), Nigeria, Yoruba (yor-oo-bah), active 1920s-1930s, died 1978, wood, H 121.9 cm (48 in.), Founders Society Purchase, Friends of African Art (77.71), The Detroit Institute of Canoe Prow Charm, Solomon Islands, Arts. The Saint routs Art Museum.

F-51 264

y Lt masks often weigh in excess of 50 Relief carvings at the Veracruz site of El ART pounds. Several masks are used during Tajin illustrate men wearing objects XP1.:(5.RATioN. the ritual, the last and most important shaped like palm leaves tied to their represents Orangun, 'the mighty king,' waists while playing the game. The game A GLOBAL who is the subject of this mask. The mask was similar to soccer and basketball. depicts the king on a horse accompanied Players attempted to hit a small rubber APPROACH by a large group of soldiers and ball through a stone ring using their hips, musicians. This monumental mask elbows, and feet. They wore protective represents a major commission, and the padding to shield them from the hard resulting work confirms the status of ball. Bamgboye as one of the Yoruba's greatest masters of carving." "This palma could not be worn because it is carved from stone. It is a religious From 700 Masterworks from The Detroit object that depicts a human sacrifice. A Institute of Arts (New York: Hudson Hills supernatural being with the head of a Press, 1985), pp. 70-71. monkey and an elaborate headdress stands on the chest of a sacrificial victim. Maize God Receiving a Human Sacrifice. The palmate portion of the object behind Mexico, Veracruz Culture, A..D. 400-700, the figure is carved with two maize stalks basalt, H 48.3 cm (19 in.), City of Detroit in low relief. The monkeylike deity, when Purchase (47.180), The Detroit Institute ofcombined with the ball game connotation Arts. of the palma, suggests that it can be "The term patina (palm leaf) in Mexican identified as Ocomatli (Oh- ko- maht -iee), a archaeology refers to a large leaf-shaped god of amusements, dancing, sports, stone sculpture most commonly success in games, and also as a associated with the classic period of the manifestation of Xochipilli CenteotI (zo- Veracruz coast of the Gulf of Mexico. The she-pee-lee sen-toe-tl), a variation of the palma shape is also associated with the Aztec maize god Centeotl, thus explaining distinctive Mesoamerican ball game. the stalks. "The theme of sacrifice on the palma refers to the ritualistic and religious overtones of the ball game. The mythic origin of the game recounts how two brothers played against the Lord of the Underworld. They lost and were killed; however, they were miraculously resurrected and defeated the underworld god, thereby conquering death. Mesoamerican cosmology related death and resurrection to the seasonal growth and harvest of corn, their staple food. The Veracruz b ill game, in some ways, reenacted the origin myth since, in some areas, the losing team was sacrificed, as is illustrated on the reliefs carved on the ball court at El Tajin. Sacrifice promised resurrectionnot of the players, but the next season's corn crop, which would emerge from the realm of the underworld and conquer death." From 100 Masterworks from The Detroit Institute of Arts (New York: I ludson Hills Press, 1985), pp. 84-85.

ClaesOldenburg, Gian1 Three-Way Plus, The Detroit InstituteofArts.

F-52 Canoe Prow Charm. Solomon Islands, Ram. Avard T. Fairbanks, American central group, Melanesia, wood, mother- (1897-1987), radiator ornament for the ART of-pearl and glass, H 34 cm (13 in.), The Dodge Ram automobile, circa 1936, Saint Louis Art Museum. Fairbanks family collection. "This carving is in the form of a long- Avard T. Fairbanks, who became A GLOBAL snouted bust with a child clasped under prominent for public-commissioned APPROACH the chin. There are ornamental mother-of-realistic sculpture throughout America, pearl shell inlays, blue-glass eye pupils, was an American sculptor schooled in the and extended, pierced earlobes. These Beaux-Arts tradition of the European art little charms were lashed to the fronts of academies. While teaching at the canoes just above the waterline as University of Michigan in Ann Arbor, he guardian spirits. Solomon canoes may be received commissions from automobile almost 100-feet long." companies to create hood ornaments that would symbolize the power and speed of From "Oceanic Art" from The Saint Louis the machine. The Rain became one of the Art Museum Slide Packet. most popular hood ornaments created at Giant Three-Way Plug. Claes Oldenburg that time. Seen here in a plaster model, (1929- ), Sweden, mahogany veneer, the butting stance of the ram symbolizes 98.74 x 98.43 x 74.93 cm (38 7/8 x 38 3/4x the power of a machine that could travel 29 1/2 in. without prongs), The Detroit at the enormous speed of 60 miles per Institute of Arts. hour. Claes Oldenburg is a contemporary The Griffin, represents the second stage American sculptor who has concentrated in designing a hood ornament. It too was on making ordinary everyday objects intofirst begun in a clay model then made in monumental images in his art. Here he a plaster model from which a mold is has taken the form of a common electrical created for the metal form. This Griffin extension plug and transformed it by has been cast in heavy pot metal so that radically increasing its size, constructing the artist could see if the image came out it out of wood, and suspending it from a properly from the mold and in a state to ceiling. In this way, the household object present to the automobile designers and becomes a powerful object. The power manufacturers to mass produce. conveyed is both the real power of a Gracehoper. Tony Smith, American (1912- heavy object suspended in a viewer's 1981), sheet steel, 7.02 x 6.7 x 14.03 m (23 space as well as the abstract quality of x 22 x 46 ft.), Founders Society Purchase electrical power. The precious mahogany and Donation of W. Hawkins Ferry, veneer further takes the plug form away Walter and Josephine Ford Fund, Eleanor from the world of mass-produced and Clay Ford Fund, Marie and Alex useful objects to the realm of finely Manoogian Fund, and members of The crafted furniture and sculpture. Friends of Modern Art (72.436), The Oldenburg made several versions of the Detroit Institute of Arts. plug, from delicate watercolor images toa monumental kor-ten steel plug that is an "Gracehoper (Grace-hope-er) is one of the outdoor sculpture on the campus of largest of Tony Smith's sculptures. Oberlin College. He is part of a group of Fabricated in six pieces, it was assembled artists, called pop artists, who use on the north lawn of The Detroit Institute popular images as a subject for their art. of Arts in 1972 and remains there today. "Tony Smith was active as an architect and designer, as well as a painter. He was part of the New York School of painters in the 1940s and 1950s. By 1960, Smith's diverse interests were reconciled when he turned his attention to sculpture. His work reflects his varied background: The modular forms, based on a multiple of tetrahedrons and octahedrons, retain an tb F-53 architect's concern with grouping forms RESOURCES ART in space, as well as revealing Smith's David Smith, American Sculptor (1906- gp000r.p. personal interest in mathematics and 1965), National Gallery of Art (film) cat. crystallography. #143/cat. #VCI43. A GLOBAL "Gracehoper is an structed of planes of Guardian Figure, Gabon Fang, a carved APPROACH sheet steel fitted together, attached to an figure to house the spirit of the dead, interior framework, and painted. The reproduction available from the African solid cubic shapes are emphasized by the Art Collection, The Saint Louis Art matte black finish. The grouped modules Museum. balance on tour points, and the shape invites the viewer to walk around and through the sculpture. From within, there are open soaring views of angular forms and suspended volumns; from outside, there are complex masses of form and changing exterior angles. The forms also associate themselves with the industrial landscape. Smith said that the upright center section of this sculpture reminded him of grain hoppers next to railroad tracks in the Midwest. "The title Gracehoper is a pun on both 'grain hopper' and 'grass hopper.' The 'gracehoper' also was a mythical beast in James Joyce's novel Finnegan's Wake. As Smith explained, the Gracehoper represents the modern world of, say, Bergson and Einstein, the world of dynamics rather than statics." From 100 Masterworks from The Detroit Institute of Arts (New York: Hudson Hills Press, 1985), pp. 232-233.

A. 0 /

F-54 BIOGRAPHIES ART Carol Alexander is an Art Supervisor with the Detroit Public Schools and also Xl,LORATioN directs the Arts In Education Center at the Wayne County Intermediate School District. She has taught visual arts at elementary, middle, and high school A GLOBAL levels. Carol received her doctorate in administration in 1989 from Wayne APPROACH State University.

Linda Downs is Head of Education at the National Gallery of Art, Washington, D.C. When this project began, she was Curator of Education at The Detroit Institute of Arts. She has beenan Art Museum Educator since 1968, and has classroom teaching experience. Linda receiveda M.A. in the history of art from the University of Michigan and hasa tended the Museum Management Institute at the University of California at Berkeley. Linda Whitetree Warrington was a high school art teacher in Saint Johns, Michigan, from 1975-1988. Currently, she is the Coordinator of Art Education, K-12, with Ann Arbor Public Schools in Michigan. Linda has taughtart at middle school and high school levels since receivinga Bachelor of Arts in 1974 and a Master of Arts in 1983 from Michigan State University.

11111W31116. Linda Whitetree Warrington, Linda Downs, and Carol Alexander

F-55

lkath-gate,N,IS-2 , Acknowledgments The authors and publisher would like to thank the following museums, collections, and private individuals by whose permission the illustrationsare A GLOBAL reproduced. The page number on which the artwork appears is in parentheses APPROACI I at the end of each entry.

Dragon of Marduk, The Detroit Institute of Arts, Founders Society Purchase (p. F-3).

Gianlorenzo Bernini, Model of Chair of Saint Peter, The Detroit Institute of Arts, Founders Society Purchase, Ralph Harman Booth Bequest Fund (p. F-5).

Seated Deity Urn, The Detroit Institute of Arts, gift of Arnold Glimcher in honor of Michael Kan (p. F-7).

Pillow, The Detroit Institute of Arts, Founders Society Purchase, New Endow- ment Fund and Benson and Edith Ford Fund (p. F-9).

Double Effigy Vessel, The Detroit Institute of Arts, Founders Society Purchase, Eleanor CIay Ford Fund for African Art (p. F-11).

Maria Martinez, Vase, The Saint Louis Art Museum, gift of Miss May Gray (p. F-13).

Toshiko Takaezu, 3/4 Moon, gift of Mary-Louise Meyer inmemory of Norman Meyer, courtesy of Museum of Fine Arts, Boston (p. F-16).

Suzuki Kiitsu, Reeds and Cranes, The Detroit Institute of Arts, Founders Society Purchase with funds from the Gerald W. Chamberlain Foundation, Inc., Mr. and Mrs. Charles M. Endicott, Mrs. Howard J. Stoddard, Mr. Howard P. Stoddard, and Mr. and Mrs. Stanford C. Stoddard (p. F-22).

Qian Xuan, Early Autumn, The Detroit Institute of Arts, Founders Society Purchase, General Membership and Donations Fund (p. F-24).

Helen Frankenthaler, The Bay, The Detroit Institute of Arts, gift of Dr. and Mrs. Hilbert H. DeLawter (p. F-28).

Morri; Louis, Alpha-Tau, The Saint Louis Art Museum, funds given by the Shoenberg Foundation, Inc. (p. F-32).

Ernst Ludwig Kirchner, Winter Landscape in Moonlight, The Detroit Institute of Arts, gift of Curt Valentin in memory of the artist on the occasion of Dr. William R. Valentiner's sixtieth birthday (p. F-34). Epa Cult Mask, The Detroit Institute of Arts, FoundersSociety Purchase, Friends of African Art Fund (p. F-40). ART EX1.)1.ATION.OR Siva Who Bears the Crescent Moon, The DetroitInstitute of Arts, Founders Society , Purchase, Acquisitions Fund (p. F-42). A GLOBAL APPROACH Nail Figure, The Detroit Institute of Arts, FoundersSociety Purchase, Eleanor Clay Ford Fund for African Art (p. F-43).

Avard T. Fairbanks, Ram, permission of Dr. GrantD. Fairbanks (p. F-45).

Avard T. Fairbanks, Griffin, permission of Dr. GrantD. Fairbanks (p. F-45).

Tony Smith, Gracehoper, The Detroit Institute of Arts,Founders Society Pur- chase with funds from W. Hawkins Ferry andMr. and Mrs. Walter Buhl Ford II Fund, Eleanor Clay Ford Fund, Marie andAlex Manoogian Fund, and Members of the Friends of Modern Art(p. F-48).

Maize God Receiving a Human Sacrifice, The DetroitInstitute of Arts, City of Detroit Purchase (D. F-50).

Canoe Prow Charm, The Saint Louis Art Museum, giftof Morton D. May (p. F -51).

Claes Oldenburg, Giant Three-Way Plug, TheDetroit Institute of Arts, Founders Society Purchase, Friends of Modern Art Fund (p.F-52).

F-57 ART EXPLORATIONA GLOBAL APPROACH ART

A GLOBAL APPROACH

UNIT EVALUATION

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Thank you. 271

F-58 A unit from a high schoolceramics course witha studio emphasis was enriched with content from art history, art criticism, And aesthetics. Thisfour-week unit, entitled The Artistic Heritageof Clay: Survival andRevival of Traditions, demonstrates how elective studiocourses might be enhanced with the discipline- based approach.In four sections, the unitmoves from a general historical investigation of ceramic objects, to study of the pottery of ancientAmericans, the Mimbres culture of theSouthwestern United States,to a specific focus on the work of Maria Martinez, the celebrated Native Americanpotter of San Ildefonso Pueblo. The fourth section engages students in the creation of clayvessels using methods similar to those of theartist. Within the ceramics course, The Artistic Heritage of Clayunit is preceded by four weeks of study of forming techniques, and isfollowed by five weeks of instruction that focus on students' development of theirown ideas in ceramic form. The final five weeksof the courseare spent examining revolutionary ceramic styles of contemporary artists and encouraging studentsto experiment beyond the traditional in theirown work. This unit demonstrates differences in discipline-based theory forgeneral education (required art courses) and advancedstudy (elective art courses).Art for general education should present a balanced consideration forcontent derived from each of the four art disciplines; specialized advanced artcourses, such as ceramics, painting, or art history, can focus primarily upon the respectivediscipline with enrichment from the other threeart disciplines.

BEST COPY AVAILABLE 272

n 14)91, The J. Paul Getty Trust. G-1 All rights test-reed.

I... -di. The Artistic Heritage High School Ceramics of Clay: Survival and Revival of Traditions Introduction Preface students' previous constructing This unit is a four-week segment of a experience or availability of examples course we envision as an introductionfrom cultural regions. to a serious study of ceramics. We assume the students have had a background of sequenced art instruction, including production, history, criticism, and aesthetics activities through elementary and middle school. We have outlined the basic course to show where this unit would function. As students begin "Unit Two, The Artistic Heritage of Clay," they have already worked with the materials of ceramics and have practiced various forming techniques. This unit is intended to give students a greater appreciation and understanding of ceramic objects from historical and cultural contexts. Our goal is not to teach pure archaeology or anthropology, but Storage Jar, Native American, Anasazi, A. D. 900-1200, rather to show some sources of The Detroit Institute of Arts. information about the artistic heritage of ceramics. Projects used in this unit may be substituted according to

2 3

G-3

.',.: g INTRODUCTION

The purpose of the course is to Description increase student understanding and of Ceramics I appreciation of ceramics by providing opportunities to gain Course knowledge and develop skills in personal artistic expression and CERAMICS I (Elective) response. Content from the art Introduction to Ceramics disciplines will enhance student' This unit was developed production of ceramic art. to demonstrate how an Ceramics I is a high school elective elective studio art ans!, Objectives at the high school levelcourse. might be enriched with Students will: content from history,It is one semester (18 weeks) in length Explore and become familiar with criticism, and meets one 45-minute class period the materials and methods used by and aesthetics. each day, five days per week. artists to make ceramic forms. Students enrolled in this course have Acquire knowledge and increase had art instruction in a sequenced, understanding of how and why This unit will help 2cl program, K-9th grade. various people of the world's cultures students understandIt is offered to students in grades 10-12 created with clay. that an art class involves much more with a prerequisite general art course than making products.completed in grade 9. The main Develop skills in perceiving and emphasis of instruction will be on art responding to the visual qualities in production, with a balance of the ceramic art. disciplines of art criticism, art history, Identify sources and acquire meth and aesthetics included to give broader ods of gaining ideas for expression substance to the traditional approach. with clay. Learn about the roles of ceramic artists in the contexts of their cultures. Learn about the roles of professionals in fields related to ceramic art. Become aware of aesthetics questions and issues associated with ceramics and other art forms.

Double Rabbit Bowl, Native American, Mimbres, A.D. 1200- 1300, The Saint Louis Art Museum.

G-4

d INTRODUCTION 1111M

Overview of Ceramics I Course (One semester 18 weeks)

Unit One: "Exploring Ceramic Methods and Materials: Defining Purposes" (4 weeks)

Students will gain knowledge about the physical properties of ceramic materials through observation, experiments, and projects. They will increase their understanding of the possibilities and limitations of forming techniques, such as hand building and wheel throwing. Reasons for creating with clay will be explored as students develop their confidence and skills in ceramics production.

Unit Two: "The Artistic Heritage of Clay: Survival and Revival of Traditions" (4 weeks) This is the unit presented in this This unit includes lessons intended to help students acquire knowledge curriculum sampler. and increase their understanding and appreciation of ceramic art from the viewpoint of history and culture. Students will improve their skills in making personal expressions with clay. They will also analyze, interpret, and respond to the visual qualities of ceramic objects and discuss theplace of ceramics in the world of art. Unit Three: "Sources of Ceramic Ideas: Influences and Inspirations" (5 weeks)

This unit will teach students to develop theirown ideas and reasons for making ceramic art. Studying how artists gain ideas fromsources such as nature, history, cultures, and artistic styles, students will transform this knowledge into their own work.

Unit Four: "Breaking Tradition: Developing New Styles' (5 weeks)

Students will examine the revolutionary styles of twentieth-century artists such as Voulkos, Soldner, Arneson, and othersas they continue to develop personal aesthetic preferences and individual styles.

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G-5

. . UNIT2 The Artistic Heritage of Clay: Survival and Revival of Traditions

Unit Goals 3. A smaller portion of the culture. Students will: After a general look at this portion of the region, we selected the Mimbres people Gain understanding of how because of their distinctive style of ceramic artifacts relate to cultures and ceramic work. The teacher could choose represent the cultures' artistic values. the Hopi, Aztecs, or other style groups. Become aware of how a culture's 4. An individual within that culture. We tried to personalize the idea of a beliefs and traditions are transmitted culture's influence on an individual's through their ceramic objects. pottery, in this case Maria Martinez, a Recognize the visual qualities that twentieth-century Native American identify ceramic objects as belonging potter. We hope that students will think of themselves as individuals within a to a specific culture. culture as well. Transform knowledge gained from studying a culture into their own LESSONS IN UNIT TWO Lesson OneCeramic Objects: ceramic object. historical and cultural artifacts, and Consider aesthetic questions raised ceramic art objects. We want the student to learn that cultures all over by the study of ceramic objects from a the world have made ceramic objects cultural context. that we study as artifacts, and some are to be considered as art. Notes Lesson TwoPottery of the Ancient We envision this unit as a brief but Americans: the southwest states, the effective study of Mimbres culture. This provides a 1. A large geographical region. After closer look at one large region of the an introduction to world pottery, we world and some of the ceramics from chose to focus on the ancient Americas. cultures that occupied it. Other teachers may wish to choose Lesson ThreeA Native American another region, depending on their Potter : Maria Martinez. A personal personal knowledge, skill level, and ceramic heritage that developed in a resources available. culture is explored through simulation 2. A culture within that region. To of a particular style of work. avoid generalizing too greatly, the leacher Lesson Four--Applying New needs to point out the large variety of Knowledge: personal interpretation cultures within a geographic region. and response. Students will use what Aware of other regional cultures, we they have learned and make a personal chose to investigate tin' North American clay project inspired by the artifacts of southwestern cultures. another culture.

, Ceramic LESSON Objects

Focus: Objectives History and Cultures/Artifacts To learn of important ways and Art ceramics help historians understand This will be a teacher-guided group cultural development. (Art History discussion about ceramic objects as [AH]) artifacts and their role in the history To learn the characteristics of of world cultures. Students will be artifacts. To understand the impor- introduced to definitions of artifacts tance of ceramics in the study of andcultures through discussion and historical and cultural development. critical inquiry activities. To appraise the information inherent in an artifact. (Art Criticism [AC], AH) To recognize that artifacts reflect the beliefs and concerns of a culture. (Aesthetics [AE])

Materials and Preparation Duplicate worksheet 1-A and homework assignment 1-A. Gather resources for the unit (books, magazines, slides, photos, etc.). Resources Student worksheet 1-A and homework assignment 1-A. Slides and prints of ceramic pieces.

Double Effigy Vessel, African, Mangbetu People, late nineteenth century, The Detroit Institute of Arts. LESSON ONE A

Procedure times in which they were made. Pots 1. Plan to illustrate with slides, then are also fascinating because of the introduce the unit with remarks such way in which they were formed, as the following paragraph. decorated, and fired. Changes in style and type of pottery occurred in What can we learn when we look at and response to social, economic, and study a piece of pottery? technical demands, and for this Pots are not only beautiful objects in reason pottery is closely integrated their own right. Over and above the with the aevelopment of different demands of function, they reflect civilizations from the earliest times to technological developments of the

Caeretan t Iria , Greek, Ca. 525 B.C., The J. Paul Getty Museum, Los Angeles.

G-8 LESSON ONE A the present. The history of pottery is Artifactsare objects made by not a continuous story; it appears to human beings that are found and jump in time and place for no known studied by archaeologists and reasons. There is, however, a commonhistorians from a later time to gain thread of style, technique, and skill knowledge about a people and their that links countries and peoples in culture. fascinating ways. 3. Continue discussion around these 2. Clarify definitions through points: dialogue: Acultureis made up of the Cultures go through stages of beh,:viors, customs, ideas, and skills social, economic, and technological shared and transmitted among a development. These developmental group of people. changes are reflected in the style and type of ceramic artifacts from that culture.

Ceramics 1 Unit 2 Worksheet 1-A The Artistic Heritage of Clay Name Date I. In your own words define these terms: Artifact:

Culture:

Discussion Questions

A. What qualities of ceramic objects make them useful artifactsto study?

B. What information can an artifact provideus about a culture?

C. What can we learn about the daily lives of people froma culture by the study of ceramic artifacts, such as a bowl?

D. What can we learn about a culture's concept of beauty fromartifacts?

G-9 279 LESSON ONE A

Ceramics 1 Unit 2 The Artistic Heritage of Clay Homework: Assignment 1-A Please complete the questions and activities below and return them for credit by

As we have discussed, archaeologists and historians gain knowledge about people and their cultures by studying their artifacts. Ceramic objects are often valuable for study because of their durability and resistance to decay and destruction caused by the forces of nature and time. Look around your home and choose an object made of ceramic material that in 500 years might serve as an artifact to give scientists some information about the way we live, what we believe, and what we think is beautiful. 1. On the back of this sheet make an accurate drawing of the form of the ceramic artifact you found in your home.

2. In your own words, briefly describe the form of your artifact.

3. How will the decay and destruction caused by nature and time affect the object?

4. What is the function of your ceramic object?

5.If this artifact were found 500 years from now by archaeologists, what might they guess about our culture?

6. In your opinion, is the object beautiful? Explain your answer.

2o1)

G-10 LESSON ONE A

Many groups of people from Note: This discussion can proceed different cultures, time periods, and quickly and will he more interesting to geographic regions all over the world students if you provide visuals of the have used clay to form objects. types of artifacts you are discussing, such Ceramic artifacts are particularly as the African vessel. valuable to archaeologists because of 4. Use these or similar questions to their durable physical qualities that further discussion: often withstand the destructive forces What qualities of ceramic objects of nature and time. make them useful artifacts?

(durability, resistance to decay, methods of construction indicate technological advancement, decorative qualities, style, and design can provide information about the culture, scientific dating) What kinds of information might an artifact provide us about a culture?

(behaviors, customs, beliefs, skills, traditions and trade patterns, food patterns preserved and presented, kinds of technology, sources of raw material, nomadic vs. agricultural) What could we learn about the daily lives of people from a culture by the study of a ceramic artifact such as a bowl? Attributed to Attic, Amphora: Combat of Herakles and Apollo, ca. 530 B.C., The Saint (what kinds of food they ate, social status, Louis Art Museum. cooking techniques)

5. Distribute worksheet for students to complete in class; collect. 6. Explain and assign homework sheet and indicate deadline for return. (Suggestion: 2 days) Evaluation Refer to students' responses to worksheet 1-A and assignment 1-A.

G-1 I Reading LESSON Artifacts

Objectives Procedure To introduce students to examples 1. Begin by ascertaining that students of ceramic artifacts from various know the locations to be discussed. times and places. [Al-11 Distribute worksheet 1-B.

To show how artifacts reflect the 2. Show slides. Descriptions have cultures from which they come. [AH, been provided, but teachers may AE] choose to substitute others from their own collections. At this time it is To reacquaint students with basic important to stress that clay has been geographic information. a medium used in many cultures over To give students practice in "visual a long period of time. note taking" (sketching from slides). Emphasize that "learning to read" (Art Production [AP]) these artifacts will allow students to make discoveries about the people Materials and Preparation who made them. Demonstrate, if Duplicate worksheet 1-B or a necessary, how to make visual notes similar exercise. by sketching an artifact after showing the first slide. Resources Slides of four ceramic artifacts from 3. Students will sketch the pots on the different geographical areas. worksheet and make written notes as the teacher lectures; shape and surface characteristics are important to capture. 4. As time permits, students will use books, magazines, and other resources in the art department collection and examine additional historic and cultural ceramic objects.

Evaluation 2 Assess worksheets.

G-12

revaivostbniTcsa.wr,...-rti-, LESSON ONE B

Ceramics 1Unit 2 Worksheet 1-B

Identify on a map the cultural region; locate the regions listed below.

Ancient Americas Afi 'ca Mediterranean Far East 1. Cultural Region

Time period

Description

2. Cultural Region

Time period

Description

3. Cultural Region

Time period

Description

4. Cultural Region

Time period

Description A.300 ,---

G-13 LESSON ONE B

Slide #1 years ago. The two rabbits painted on its Bowl: Double Rabbit interior are typical of the combination of circa A.D. 1200-1300 geometric and natural forms that decorate H 13.3 cm (5.2 in) Mimbres pottery. Many pieces of Mimbres Southwest, Ancient Mimbres pottery have survived because they were "The Indians living in the southwestern states placed in graves. Bowls like this were of Arizona and New Mexico have occupied deliberately broken and sometimes used to the area for centuries. Archaeologists have cover the face or chest of the dead. The found evidence of villages more than 1,000 Mimbres believed that this ritual 'killing' of years old. the bowl would release its spirit, allowing it to 'This bowl is a product of the Mimbres accompany the spirit of the dead person into culture; these Indians lived in the valley of the the afterlife." ("The Art of the North Mimbres River in New Mexico about 800 American Indian," The Saint Louis Art Museum Resource Center.)

Predynaslie Painted bar,Egyptian, 3500-3200 B.C., 1 he Detroit Institute of Arts. LESSON ONE B

Slide #2 Slide #3 Double Effigy Vessel Hydria Unglazed earthenware Terra cotta late nineteenth century Caeretan, East Greece, circa 525 B.C. Africa, Zaire (body) 33.4 cm (17 1/2 x 9 x 13 1/8 in) H 62.2 cm (24.5 in) 83. A.E. 346 The Detroit Institute of Arts "Although the labors of Herakles were "The figurative pottery of the Mangbetu popular subjects in sixth century vase of northeastern Zaire has beer, well- painting, the slaying of the hydra of known to scholars and collectors of Terna was not a very common African art since the beginning of the representation. The hero had to kill the century. The Mangbetu-speaking peoples many-headed sea monster by cutting off lived between the forest and savanna each head and cauterizing the neck so where peoples of three major linguistic that new heads could not grow back. groups shared certain linguistic, artistic, Here the artist has included Herakles' and other cultural traditions for centuries.nephew bolas as an assistant. Unlike Attic The figurative pottery style is naturalistic,vase painters of the same period, this depicting the actual elongation of the possibly East Greek master had little Mangbetu heads, which were wrapped at feeling for the architectonic quality of the birth to form a high crown. The opening vase shape. He also had little more of the pot, at the top, is often formed by interest in the human subjects than in the the Mangbetu woman's coiffure, which is ornamental motifs." The I. Paul Getty braided into a trumpet shape, flaring Museum Handbook of the Collections hairstyle. Facial features are full and (Malibu, CA: J. Paul Getty Museum, sensual, and the head rests on a slender 1988). neck and rounded base. In their elegance and their air of grace and nobility, these Slide #4 pots conform to the elegant image of the Covered Jar Mangbetu people described by Glazed earthenware, Europeans as far back as the 1870s. The Chinese, Tang Dynasty, 618-906 A. D. fact that it is very difficult to pour a liquidHeight: 26.6 cm (10.5 in) from most of these pots is evidence that The Saint Louis Art Museum they were nonfunctional. 177: 1942 "Like other types of Mangbetu T'ang ceramics embody contrasts: a full, anthropomorphic art, the pottery appearsswelling body complemented by a light, to have been created during a relatively narrow neck. Each part of a pot relates to brief period that coincides with the onset each other part. The later Sung wares of Belgain rule in northwestern Zaire. suggest stillness and peace in their Jockeying for power occurred while the smooth, continuous curves. T'ang Belgians were tightening their grip in the decorationmodeled, incised, stamped, region and precisely when the great early or paintedwas bold and assertive. collections of Mangbetu art were being formed. Chiefs often presented anthropomorphic pots as gifts to passing officers to maintain their reputations as men of importance. It is clear that this genre was based on preexisting aesthetic traditions found in many parts of the region. It flourished in its 'classic' form until the Second World War and has not disappeared entirely." (From unpublished African Art Handbook, The Detroit Institute of Arts).

G-15 255

:11:411t7,473-WirEW:- --" Artor Artifact

Objectives List reasons for placing a ceramic To share results of earlier object in either an artifact or art homework assignment. [All] category.

To participate in a discussion of an 4. Plan for at least ten minutes of class aesthetics issue: "Art or Artifact." interaction on one or more of the [AE] items as closure to the activity. Procedure Evaluation 1. Check to be sure students have Collect the homework sheets and completed the homework assignment.appraise both written responses and drawings. Observe participation in 2. Conduct a sharing session using the the discussion and note the quality of information gathered by the students, response. Record significant including attention to their drawings. information for future reference. 3. Allow at least half of the period for an exploration of the aesthetics issue, "Art or Artifact." Divide the class into four groups and give each group one of the questions below to discuss and report back.

What makes an object art?

Wlmt constitutes the difference between artifact and art?

Why are most archaeological artifacts consigned to the basement study areas of museums while some few are placed in display spaces?

What characteristics or qualities of a pot Covered Jar, Chinese, Tang Dynasty, make it more than simply a functional 618-906 A.D., The Saint LouArt Museum, object?

G-16 Pottery of the Ancient Americans

Objectives Note: Arizona Highways and To introduce the students to the National Geographic magazines are styles of expression used by different rich resources; there are a number of well- cultures in the ancient Americas. illustrated books as well. [AH] Procedure To help students identify personal 1. Distribute copies and ask students preferences for qualities inherent in to read "The Pottery of the Ancient Native American pottery. To Americans." encourage students to clarify their personal values concerning the ritual 2. Show slides and/or photographs of or sacred qualities of pots. [AC, AEI Mimbres pottery, describing the work To provide information about the with the help of background early Native American cultures, their information supplied in "The origins, beliefs, cultural practices, andMimbreno Aesthetic System." some characteristics of their ceramic 3. Help students summarize what artifacts. [AH] they have learned from the reading To practice skills of making accu- and the visuals with a guided rate, representational drawings. ([AP])discussion.

Materials and Preparation 4. Ask students to complete Duplicate "Pottery of the Ancient worksheet 2 -A 2. Americans" 2 -A 1 for students to Evaluation read and worksheet 2-A2. Use the "Key Points for Discussing Pottery Collect and assess responses on of the Ancient Americans," 2-A 3. worksheet 2-A2. Read the background information Extensions for teachers on "The Mimbretio Aesthetic System," 2-A4. Students may make descriptive, accurate pencil renderings of one or Resources more styles of Mimbres pottery, Gather as many photographs and concentrating on the special attributes other references as possible to illustrate Mimbres pottery (see that make it unique. References and Resources).

G-17 287 LESSON TWO A

Pottery of the Ancient Americans 2-A1 It may never be known when the first Stone Age people migrated from Asia to the North American continent by a land bridge across the Bering Strait. Evidence leads us to believe it was before 8000 B.C. When the land bridge was eventually covered by water, the people of the Americas were isolated. They developed cultures with essentially no influence from other cultures. Bocause of this isolation, North, Central, and South America developed styles of pottery different from the rest of the world. Nevertheles5, all of the cultures made pots. The pots have two major characteristics: (1) Most pats were hand-built using coils, modeling, or molds, and (2) the pots were decorated using colored clay slips or earth pigments. The pottery forms tend to be somewhat squat and were often made for storage of seeds or maize. Three major cultural groups who lived in the southwestern United States can be identified by distinctive pottery characteristics: The Anasazi occupied what is currently the four corners area near Colorado and Utah, the Mogollon lived in the southern half of New Mexico, and the Hohokam in Arizona. The earliest pottery vessels were coil-built of gray clay, made with outlines visible on the outside, and were used basically as cooking vessels. These pots tended to have rounded bottoms so that they could be set into the fire or on soft ground. Later, black and white slip was used to create designs of geometric shapes and animal figures, varying somewhat among the groups. One Mogollon or Hohokam subculture identified as the Mimbres created what is now considered some of the most beautiful early Native American pottery. Mainly bowls survive from this culture, because they were ritually buried with the dead. This culture existed along the 46-mile-long Mimbres River Valley in southwestern New Mexico from A.D. 550 until A.D. 1150, when the culture mysteriously ended. Their decorated pots made circa A.D. 1000-1150 were black and white with geometric designs and highly abstract bird and animal designs. Realism is so rare that the style that developed there is truly unique. The Mimbres traditionally broke holes in the bottom ofa pot before they buried it with the dead, perhaps to allow the spirit of the pot toescape or maybe to discourage grave robbers from removing objects from thegrave. Archaeologists can only guess at the reasons. The arrival and spread of the Spanish culturein Central and South America and Mexico .strongly influenced the pottery styles of what isnow the southwestern United States. A major pottery tradition arose among the ancestors of the Pueblo Indians. (The name Pue blo comes from the Spanish word for the dwellings made of unbaked clay called adobe.)

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, , or, ". . , I. .. d.",";', rrt,0. r44,.k.trF°°,7104°?;°°?0`'''rr,:''''...1' LESSON TWO A

Homework Assignment 2-A 2 QUESTIONS TO BE ANSWERED FROM THE READING AND DISCUSSIONS ABOUT THE ANCIENT AMERICANS. 1. Where did the people of the Americas migrate from?

'01

,a; 2. Why did the ancient American cultures develop pottery styles different from other cultures in the world?

3. Describe two major characteristics of ancient American pottery.

4. What influence did the introduction of Spanish culture have on ancient American pottery?

5. Name three cultural groups that occupied the southwestern part of North America.

6. What is adobe, and what is it used for?

7. Define some of the cultural attributes associated with the ancient American peoples.

8. Describe at ieast two attributes of Mimbres pottery.

9. When did the Mimbres culture flourish and where?

10. Why are bowls the majority of artifacts found from the Mimbres culture?

G-204LI

c;Crafpar!":1;47<+.,fie -,e,,.b.hr LESSON TWO A

For the teacher: Key Points for Discussing Pottery of the Ancient Americans 2-A 3

Ancient Americas A hunting and gathering people migrated from Asia via the Bering Strait before 8000 B.C., bringing Stone Age technology with them. The migration spread across the North American continent and down to the tip of South America. North, Centrai, and South America developed quite different styles of pottery from those of other parts of the world. Two major characteristics of pottery: 1. hand-built, including molds, 2. decorated with colored clay or pigment. Pottery shapes tended to be squat, with rounded bottoms. Three regions can be identified as having a strong influence on the development of pottery styles. 1. Andean region of South America, 2. Mesoamerica (central and southern Mexico, Guatemala, El Salvador, and parts of Honduras), 3. Southwestern North America. The arrival of the Spanish in the sixteenth century influenced the Andean and Mesoamerican cultures.

Southwestern North America Roughly the area currently known as Arizona, New Mexico, southern Colorado, southern Utah, and northern Mexico. Pueblo Indians, so named because of the adobe (dried, unfired clay brick) dwellings. Earliest pottery was coil-built, with the outlines visible on the outside, made of gray clay, basically cooking vessels. This style was known as cor-ugated ware. Black and white slip used later, involving geometric designs of rectangles, triangles, zigzags, frets, spirals, and checker patterns for surface design. Three main groups 1. Hohokam 2. Anasazi 3. Mogollon

,Timbres Considered one of the most beautiful and distinctive wares of southwest Native Americans. Bowls survived because they were buried with the dead. The Mimbrenos lived along 46-mile-long Mimbres Valley, from A.D. 550-1150. Uncerta in whether they were Mogollon or Hohokam. Predominantly black and white decoration evolving from geometric to humorous figures and shapes of creatures. Punching a hole in the bottom may have allowed the spirit of the pot to go free or discouraged grave robbers by making the pot nonfunctional.

G-21 291

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. . LESSON TWO A

For the teacher: The Mimbreno Aesthetic System 2 -A 4 "The Mimbreno aesthetic system may not have been formally stated, but its constancy suggests that the makers and users of the art understood a shared set of rules, and, indeed, that art criticism may well have been consciously practiced. "All Mimbres compositional schemes achieve an immediate effect. The ideal shape of the painting surface was a small, moderately deep, and concave subhemisphere that could be held in the hands easily and was mobile. Therefore, the ideal image could be correctly read from any angle and had no top or bottom. By Mimbres classical times, the oater margin of the painting area was framed by a series of rim bands that effectively isolated the picture from its surroundings. Nonfigurative, symmetrically balanced units, as in earlier times, were usually subdivided into four symmetrically balanced units, each a visually complex arrangement of lines and masses that were generally oriented to the center of the picture space. This four-part structure, which is potentially so static, was made complex in a great variety of ways that :ended to create visual dynamics. By classic times, the division of a vessel into four equal quadrants was not always obvious, and by then emphasis on the center of a bowl was increased by leaving a large, blank, framed space there. This restricted the available picture space to a band encircling the walls of the vessel. Even in these pieces, the lines that often divided the band into quadrants may appear to converge in the center of the vessel. Thus, the original system of organization was modified, but its concern for central forms and quadrants was continued. Ultimately, variant organizations such as division into pairs, threes, or five or more units became more common. Even these late designs were oriented toward the center of the painted surface, and some sort of dual division of composition was maintained. "The quality of Mimbres ai L is, as much as anything else, a function of its provocative use of symmetry. Most compositions include two or more opposing pairs of figures oriented to the center of a concave hemisphere. The arrangement is basically static, but dynamic tensions are created by placing the symmetrically arranged contrasting units in a variety of perceptual situations. Each pair threatens to destabilize the static arrangement and thus creates the illusion of motion. Inversion, forceful negative patterns in unpainted areas, and the use of diagonals all contribute to ambiguous and multipie readings" (from Brody, 1984, pp. 70-97).

Bow! with Dual Cranes,Mimbres, A.D. 1200-1300, The Saint Louis Art Museum.

, leroic-Sized Seated Female,Mexico, A.D. 600 Y00, The Saint Louis Art Museum.

G-22 Revivinga Vanished Art

Objectives: To what part of the shape do most To learn about the decorative of the designs orient themselves? techniques of a particular cultural 2. Suggest that students begin with a group. JAH, AEI circle 6 to 9 in. in diameter and To interpret archeological informa- develop several sketches before tion into an original design. [API selecting one to complete. To demonstrate understanding of 3.- Offer options: (1) a design rendered symbolic decoration by designing a with ink and pen (or brush) on paper, surface that simulates a Mimbres or (2) a circular clay tile or shallow bowl or uses personal symbols in a bowl made of white burnished stylized, abstract manner. [API earthenware with a ceramic oxide stain.

Materials and Preparation 4. Set levels of expectation and due Pencils and paper, ink, pens or date; begin research and production. brushes, clay (optional) 5. Continue to work on this activity Resources for one or more days. At some 4 Slides, photographs, and schematic convenient time, distribute homework drawings of Mimbres geometric and sheet 2-B and plan to debate this abstract figure designs aesthetics problem as students complete their projects. Procedure 1. Review with students the Evaluation: characteristics of Mimbres designs by 1. Supervia? the design and asking the following questions such production activities to give assistance as: as needed and also interview individuals about their understanding What principle of design is very of ancient American cultures as important in almost every Mimbres revealed by the artifacts. decorative surface? 2. Jointly determine the degree of How did/do artists keep their success of the production activity. designs from becoming too static?

-d-oi-14 LESSON TWO

Homework Activity 2-B Aesthetics Activity: The Secret of the New Garden Imagine that you own and live on a five-acre piece of land at the edge of town. You decide to plow a portion of your property to begin a large vegetable garden. While plowing the soil, you unearth a ceramic object and a few hu.nan bones. It becomes apparent that your new garden is on what seems to be th, site of an ancient Indian burial ground. Such sites have been discovered in the area, and you are a ware that similar ceramic objects are often found in great numbers and can easily be sold to collectors for well over $200 for each unbroken artifact. Teachers, make clear to students that "looting Which of the following actions would you take? Write down why. Native American sites to obtain artifacts for A. Rebury the found objects and move your new garden to another area of your personal ownership or property. In respect for the dead, you keep your discovery a secret from the world for sale to collectors is and protect the sacred burial site. not solely a legal matter. To many Native Americans, looting is a crime far beyond that of breaking a federal state or tribal law: it is an act of desecration that violates B. Carefully dig out the ceramic objects, making sure that they are not broken or deeply held religious damaged, in order to ensure bringing the best possible price. You make every beliefs that are essential effort to avoid disturbing the skeletons and recover them when you are through to the spiritual well- with your treasure hunt. being of Native Americans. Ignorance plays a role in the persistence of looting, as does prejudice, but financial gain is an increasingly important factor. P. M. Messenger (1989), The C. You call the local historical society. so that the site can be studied and recorded Ethics of Collecting and the artifacts displayed by trained archaeologists, historians, and museum curators. Cultural Property, pp. 36-37.

D. Contact the officials of the tribe of native Americans whose ancestors were known to live in this area, giving them the opportunity to relocate the remains in traditional ritual manner.

fieprepared to defend your stand and debate responses in class.

G-24

T474Frirtylis,V.---X 4r.& =4 ,:Aatr ,---EZAi.:*-4 " ; A Native American Potter

Objectives 2. Students will take visual notes, To view the work of one individualindicating the significant features of within a cultural group and the ceramic objects they see. understand the interaction of an 3. Recap the essential facts of Maria's artist, the environment, and the life and work, expanding on the community. [AC] following brief statements: To understand how an artist's work Maria Martinez (1884-1981) can be influenced and guided by the Born in San Ildefonso Pueblo, New past, but still be a personal Mexico, Maria Martinez first made expression. [AE] polychrome pottery in 1897, painting To become familiar with the story with red clays and black pigment of San Ildefonso Pueblo and the kindsfrom wild spinach called guacho. of ceramic objects made by Maria Later, she and her husband, Julian Martinez. [A1-1.1 Martinez, were asked to re-create Iviarfa Martinez and shapes from pottery shards found in her work are well Materials and Preparation the Fryoles Canyon. They enough known that Paper and pencils for visual note experimented and discovered the much resource material is readily available. taking. Obtain a video or film about technique of burnished pottery, with Teachers should plan Maria Martinez and/or a set of its silver-black sheen. Julian and ahead to locate slides of her work (See References Maria rapidly became famous for abundant materials for this lesson. and Resources). Display their skillfully executed wares, and photographs and/or books and their work is highly valued by articles about this artist and her collectors. work.

Proced are 1. Show the film or video or narrate slides to introduce students to Maria Martinez, her work, and her community at the pueblo of San Ildefonso near Santa Fe, New Mexico. 295

G-25 LESSON THREE A

Bowl chewing the end of a leaf from a yucca Maria Martinez plant. The finished bowl was then baked circa 1940 in a fire, which was then smothered. This San Jldefonso Pueblo, New Mexico reduced the amount of oxygen in the fire, The Saint Louis Art Museum turning the red clay black. Marfa Martinez died in 1980, but the people of "Indians in the Southwest still make her pueblo and a neighboring pueblo pottery much in the way their ancestors continue to produce black earthenware." did. This black earthenware bowl, with (From "Native American Art," The Saint its burnished design, was created by Louis Museum Resource Center slide kit.) Martinez. Using clay dug from nearby hills, Maria built this bowl entirely by 4. Devote the rest of the period to hand. She began by winding coils of clay around a base. The sides of the bowl wereexamining the photos, books, and smoothed and shaped with tools made magazines about this famous Native from gourds, shells, or stones. Once it American artist. dried, the bowl was polished with stones and painted with a brush made by

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Maria Martinez, Bowl, ca. 1940, The Saint Louis Art Museum.

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G-26 Firing Pots the Ancient Way

Objectives Procedure To produce a piece of pottery using1 Describe the process and supervise techniques similar to those used by students as they construct a coil the artist and the culture studied; earthenware open-ended pot (approx. specifically, to introduce the tech- 4 in. in diameter). niques of burnishing and sawdust 2. Allow pots to dry to between firing for developing students' skills leather-hard and bone-dry stages. (If in ceramic expression. [AP] they become bone dry, sand and then smooth and then moisten the surface Materials with slip.) Earthenware, coffee cans for 0 individual firing of small pieces or Burnishing metal garbage cans, matches or 3. Use a metal spoon or other smooth torch, nail or hole punch, plastic object to rub the clay surface until it bags, sawdust (fine grained, not produces a shine. Burnishing takes a chips), metal spoons or polished lot of class time. While students work rocks for blackware, a mix for at this task, the teaches might read variegated-ware. aloud chapters from Maria, the Potter of San Ildefonso by Alice Marriott. Preparation Gather needed materials. Choose a 4. Continue polishing. "The more you safe, open air or well-ventilated polish, the. higher the shine. I often workspace or the inside of a large burnish a piece once, put it aside and kiln with a stack to the outside. reburnish it again later. You can Make holes in cans, all over the burnish it so that no marks of your bottom and sides (approx. 1 in. tool are visible or you can burnish in apart) for air and smoke. Do a brief planned directions so that you make a review of Native American pottery pattern with your strokes. Burnishing and Maria Martinez. Duplicate the can be slow and painstaking and you Evaluation Form, 3-B. can press too hard and break your piece" (Berensohn, 1972).

297

G-27 LESSON THREE

Firing and the level of skill demonstrated by 5. Use a container that will allow air this activity. Use (or adapt) the to enter from all sides. To fire up to 15evaluation form 3-B. pots at a time, use an institutional size Extensions can with holes punched every inch, 1. Use good red terra-cotta clay, including the bottom. burnish it when it is leather hard, and 6. Loosely fill the bottom third of the use terra sigulatta slip to make red Review safetycontainer with fine sawdust. Place thepots with red matter decoration as regulations carefttllypots, open side up, in the center of thesome of Maria's and Julian's pots before undertaking any can and loosely cover them to at leastwere finished. firinc process. two inches above the lip. 2. Use a buff stoneware clay, burnish; 7. Light the top of the sawdust, using use slips engobes or stains to simulate a propane torch or little pieces of or intcrpret traditional symbols onto paper inserted into the sawdust. the pot. 8. Allow the sawdust to burn for two 3. Use incised or carved decoration to or three minutes before smothering simulate other traditional styles of the flame. There should be an even San Ildefonso decoration. coating of burning embers on the 4. For larger pieces that would not fit surface. into a coffee can, use a bucket, 9. Allow the sawdust to smoulder for garbage can, or kiln made of red brick approximately three hours where the loosely constructed to allow an air hot can won't be a danger and opening between bricks. Fire with ventilation is adequate. sawdust the same way you would use a coffee can. (Refer to Berensohn, Note: Take all the normal safety and 1972, see References and Resources) health precautions.

10. Remove the pot from the cool ashes and clean with a soft cloth. The ware is fragile and nonfunctional, but will have the distinct colored surface of Native American black pottery.

Note: Maria's black pots are not waterproof. One can approach a waterproof quality with such pots by filling them with milk and letting it stand for several days. Evaluation Meet with each student individually to determine the amount of learning LESSON THREE B

Evaluation Form, 3-B The five areas of critical discussion are the following: (Student and teacher grades will be averaged to attain the grade for the activity.) student teacher average

Form Look at the oasic shape of the pot, was it controlled? Symmetrical? Is the form similar to the archaeological examples?

Weight Is the pot constructed with even walls and a balance of weight to size?

Surface Is the surface carefully prepared? Is burnishing, carving, or incising done with attention to control? Decoration Does the decoration show knowledge of the culture studied? Is it an interpretation of existing designs or a direct copy? Personal Effort In this category, grade the effort of the student in making their project, considering past efforts, personal limitations, and other circumstances.

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G-29 LESSON Applying New Knowledge

Note: Use the remaining days of this Selecting Pottery for a Museum four-week unit to deepen students' Collection understanding of the goals of the unit. A role-playing activity to provide Activities should include exercises in experience in art criticism. aesthetics, history, and criticism, as well as creative expression and skillful Preparation craftsmanship with clay. Divide the class into four groups. Provide each group with a different Allow the students to choose one of color reproduction (postcards) of the other geographic regions that one of four ceramic objects. Ask were not studied and research into each group to identify members to styles and traditions of pottery in a serve as a discussion leader, a culture of that region. After the recorder, and a group students have gained some spokesperson. knowledge about their chosen culture, they could (1) develop a piece of pottery to show their Procedure understanding of the attributes of the Instruct groups to spend 15-20 pottery style; (2) present a report to minutes describing, analyzing, the class about their chosen region, interpreting, and making judgments using slides, pictures, or examples; or about the visual and aesthetic (3) identify the characteristics of a qualities of their ceramic object particular archaeological example in a(reproduction). When the groups modern piece and try to account for return to a class discussion, each the influence; or (4) some spokesperson will report their group's combination of 1, 2, and 3. findings to the class. Their task is to present evidence that will convince Plan at least one additional class or the teacher, who is posing as a group activity, such as the following. collector or museum representative looking to purchase only one object, to buy theirs for the collection. Groups should use all available facts, including information on the hack of

G-30 , .3(M LESSON FOUR

the cards, to provide evidence for Before moving to the next unit of the their claims. They may choose to course, plan ways to utilize the debate and question the conclusions learnings of this one, to make a of other groups. smooth transition, and to maximize students' opportunities to transfer Possible categories for criteria: histor- their knowledge. ical importance, craftsmanship, form, function, design, decoration, style, expressive qualities, symbols, motifs.

Double Spout Jar, Peruvian, ca. A.D. 0-300, The Saint Louis Art Museum.

G-31 3 u_ 1

- 135,o, t1. .1' , References and Resources Nigrosh, Leon I., Low Fire: Other Ways to Appleton, Leroy, American Indian Design Work in Clay (Worcester, MA: Davis and Decoration (New York: Dover Publications, 1980). Publications, 1971). Peterson, Susan, The Living Traditions of Arizona Highways (May 1974). Mari.. Martinez (Tokyo: Kodansha International, 1977). Berensohn, Paulus, Finding One's Way with Clay: Pinched Pottery and the Color of Sides, Dorothy Smith, Decorative Ar; of the Southwestern Indians (New York: Dover Clay (New York: Simon and Schuster, Publications, 1961). 1972). Brody, J. J., Mimbres Pottery: Ancient Art of*Illustrations of Mimbres pottery. the American Southwest (New York: Hudson Hills Press, 1984). Charlston, Robert J., World Ceramics: An Illustrated History (New York: Hamlyn Publishing, 1967). Clark, Garth, American Ceramics: 1876 to the Present, rev. ed. (New York: Abbeville Press, 1987). Cooper, Emmanuel, A History of World Pottery (New York: Larousse and Co., 1981). Dittert, Alfred E. Jr., and Fred Plag, Generations in Clay, Pueblo Pottery of the American Southwest (Flagstaff, AZ: Northland Press, 1980). Maria: Indian Pottery of San Ildefonso Video: (27 min.) Holiday Video Library/ Finley-Holiday Film Corp. Box 619, Whittier, CA 90608. Marriott, Alice, Maria: The Potter of San Ildelfonso (Norman: University of Oklahoma Press, 1986). Maxwell Museum of Anthropology, Seven Families in Pueblo Pottery (Albuquerque: University of New Mexico Press, 1974). Messenger, Phyllis M., ed., The Ethics of Collecting Cultural Property (Albuquerque: University Df New Mexico Press, 1989). See Chapter 1, "Ancestral Sites, Shrines, and Graves: Native American Perspectives on the Ethics of Collecting Cultural Properties," pp. 27-38. National Geographic Magazine' (Nov. 1982).

Nigrosh, Leon I., Claywork: Form and Idea in Ceramic Design, 2nd. ed. (Worcester, MA: Davis Publications, 1986). Map of the Southwestern United States Jeffrey Shaw has 17 years of high school art teaching experience in the Columbus Public Schools, Columbus, Ohio. He received his M.A. in art education fi om Ohio State University. George Sedlacek has been teaching at the secondary level in the Lincoln, Nebraska, school system for 16 years. He received his M.Ed. from the University of NebraskaLincoln. Acknowledgments The authors and publisher would like to thank the following museums, collections, and private individuals by whose permission the illustrations are reproduced. The page number on which the artwork appears is in parentheses at the end of each entry. Storage Jar, The Detroit Institute of Arts, Founders Society Purchasewith funds from Founders Junior Council and Acquisitions Fund (p. G-3).

Double Rabbit Bowl, The Saint Louis Art Museum, Museum purchase (p.G-4).

Double Effigy Vessel, The Detroit Institute of Arts, Founders Society Purchase, Eleanor Clay Ford Fund for African Art (p. G-7). Caeretan Hydria, Eagle Painter (attributed to), ca. 525 B.C., The ). Paul Getty Museum, terra cotta, H: 44.6 cm, diameter of mouth: 22.9 cm, diameter of body: 33.4 cm (p. G-8).

Amphora: Combat of Herakles and Apollo, The Saint Louis Art Museum, Museum purchase (p. G-11). Predynastic Painted Jar, The Detroit institute of Arts, Founders Society Pur- chase, Contribution from the J. M. Pincus Foundation (p. G -14).

Covered Jar, The Saint Louis Art Museum, Museum purchase (p. G-16). Seated Deity Urn, Detroit Institute of Arts, gift of Arnold Glimcher in honor of Michael Kan (p. G-19).

Heroic-Sized Seated Female, The Saint Louis Art Museum, gift of Morton D. May (p. G-22). Bowl with Dual Cranes, The Saint Louis Art Museum, Museum purchase (p. G-22). Maria Martinez, Bowl, The Saint Louis Art Museum, gift of Morton D. May (p. G-26). Double Spout Jar, The Saint Louis Art Museum, gift of J. Lionberger Davis (p. G-31). The Artistic Heritage of Clay: Survival and Revival of Traditions

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G-36 The three art museum educators who participated in the Getty Curriculum Development Institute were originally given the role of supporting all the writing teams. In addition, however, they initiated a mini-unit of their own with emphasis on the art museum as a resource for school art programs. This unit has the descriptive title Experiencing Original Works of Art in a Museum, and it provides teachers and museum educators alike with a model for eilgaging students in response to original artworks. The three lessons feature previsit preparations of students in the art classroom, a museum visit, and follow-up activities back at school. This brief unit focuses attention on a single painting and provides a detailed guided discussion of a number of aspects of the artwork. The model for discussing an art object demonstrated in this unit can be applied by teachers for discussion of artworks within any of the sample units.

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6) 1991, The J. Paul Getty Trust. H-1 All tights reserved 2111MI EXPERIENCING ORIGINAL WORKS OFART IN A MUSEUM INTRODUCTION his short unit deals with the special experience of viewing original art in a museum setting. Original art is connected to the original maker in a way that no reproduction can he, and its physical properties, such as scale, surface, material, and color, are palpable and "magical" only when they can be viewed directly. The art museum's effect on the viewing experience will be explored. The artwork selected for the unit is a landscape painting. The questions and discussions are designed to be adaptable to other paintings in local museums; these lessons are only models for teachers to adapt for local use. This unit presumes that The unit is designed to be inserted into any art curriculum. There are three students have been previously informed lessons: the first is conducted in the classroom before a museum visit; the about the museum: its second in the art museum; the third, back in the classroom. Each lesson will fillfacilities, services, one 45-minute to one-hour class period. Each, including the museum visit, will regulations, and educational be directed by the art teacher. Should a teacher desire the teaching assistance opportunities. of a museum educator with any aspect of this unit, special arrangements can usually be made. The unit has been written with middle-school students in mind, but it can be adapted readily to other school levels. The writers of this unit, all museum art educators, developed these three lessons to be used by art teachers in collaboration with museum staff and resources. The unit focuses on the qualitiesOf all original work of art.

Albert Bierstadt, Yosemite Valley, Yale University Art Gallery, New Haven, Connecticut.

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Objectives To arouse interest and curiosity about a selected painting in the art museum. (Art History [AH]) To begin the process of moving students' reactions from personal opinion to informed judgment. (Art Criticism [AC]) Vocabulary AcquisitionA work of art bought by a museum or given as a gift. CuratorOne who acquires, displays, researches, and publishes information about works of art in a museum. Conservator--One who restores and preserves works of art. Instruction 1. The setting is the school art classroom with art teacher and (middle-school) students. The art teacher will conduct a fast-moving class discussion. It is most important that students understand that they cannot know what an original A nineteenth-century landscape, Bierstadt's Preparation Yosemite Valley, has At least two weeks before a class visit to the museum, the art teacher will set been used only as an a date and time for the visit by writing or phoning the education example of how a department of the local art museum. The art teacher will select one Fainting particular painting in a local museum could be in the museum's collection as the focus of the lessons. The teacher will approached. Select confirm that the painting will be on view at the time of the visit. Materials your own iniage(s) and relevant to the work of art, through loan or sale, will be made available so use this procedure as a that the teacher and the class may become familiar with the painting. guide. Do not overlook Materials the possibility of Slide of the "focus works" (in this case, Albert Bierstadt's oil painting choosing a non- entitled Yosemite Valley [1875]), together with a poster, postcard, catalogue Western work of art. illustration, or any other reproductions of the painting available from the museum. If such reproductions are hard to come by, Polaroid photos with slides of the painting made by the teacher will serve. Slides and/or reproductions of other works by the same artist. Slides of other landscape paintings by various artists. A floor plan from the museum. Paper for students' note-taking.

H-4 309 LESSON ONE painting is really like until they see it; that they begin to perceive the role of museums; and then they gain some familiarity with the artist and with the work that they will be viewing in the museum.

2. Yosemite Valley (1875) by Albert Bierstadt (in the collection of the Yale University Art Gallery, New Haven, CT) will serve here as an exemplar only. P-dapt the strategies to a particular work that may be seen in a local museum.

3. Place all available printed reproductions of the Bierstadt (Beer-shtaht) painting on view in the classroom before students arrive. Ask students to view them. Once back at their desks, show students a slide of the painting and ask them to write their reactions to the image (no more than five minutes). Ask students to write informally whatever comes to mind about the painting and to include any questions or concerns they have about it. 4. Using the inquiry method, initiate a class discussion of the differences between reproductions of art and the original work. A beginning question might be whether students like the image they have been looking at. Why or why not? Move quickly. Description and formal analysis will happen in the class session in the museum.

5. Ask questions that stress the need to see the original painting, questions that cannot be answered otherwise. Make it clear to the students that they can only make blind guesses witholit seeing the real thing. The aim is to teach them that reproductions are not a perfect substitute. Are the reproductions all alike? Any differences? Which reproduction is probably truest to the colors in the painting? How big is this painting? (An outline of it drawn to size on the chalkboard or on paper could be shown after students guess.) What do you think its surface is like? Smooth? Rough? What kinds of paintings might be hanging near it? Why?

6. Show slides of other landscapes by Bierstadt (or the artist you choose) so that students can begin to detect characteristics of his style. One might choose a few examples of the small, brightly colored sketches of atmospheric conditions that Bierstadt could do so well, but the emphasis should be on the great wilderness views for which he is most famous, of which this painting is one. Certainly, one or two of his other Yosemite views are desirable to include in this slide show of perhaps ten slides.

7. Woven into this informal viewing and class discussion could be information about the artist. Otherwise, biographical information should come just after students look at and comment on the slides. (See artist's biography at the end of this lesson )

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8. Ask students why they tl-Ink the museum collected this painting. This, of course, can only be thoughtful guesswork. The Yale University Art Gallery has another Bierstadt, The Valley of Yosemite, painted earlier than the 1870s work that the students have been considering. Why would the museum want two? Specific answers to such questions will be given when students see the focus painting in the museum. 9. The discuss. )n can move now from the Bierstadt work to the mission of art museums to collect artto make "acquisitions." Why does a museumcollect? The class might he divided into small teams that compete with each other for a few minutes to determine as many reasons as they can. When teams report their findings, the valid reasons should be put on the chalkboard or a sheet of chart paper. For example:

The work expresses a historical link to the culture of the artist. Time personal expression of this artist had value for or influence on the culture. The work offers a useful comparison to other works in the museum (provides a context for teaching). The piece may be a rarity, such as an ancient piece in a good, original state. Museum visitors like to look at Bierstadt's painting.

10. The other functions of a museum should be briefly mentioned: exhibitions, conservation, research, interpretation, and education. Why do museums have these functions, in addition to that of acquiring art? Why are museums important? There may be little time to discuss these questions, but they should be raised. 11. the conserving/preserving function of museums is one that should be attended to because students must recognize that museums are charged with protecting art for posterity. Otherwise, they will not understand the rules of museum etiquette. Now that they have begun to see the value of preserving the fragile surface of an original work, they should be reminded of the following: Oils and acids in one's hands damage works in all media, even if each person wants to touch a work only once. Paintings and sculptures can be badly damaged when well-meaning people come really close and point with a finger or pencil or move suddenly while wearing a bracelet, carrying an umbrella, or wearing a backpack. When security guards in a museum warn you about getting too close, they are only doing their jobhelping to preserve the art so that future generations will be able to enjoy it as much as we do. 12. Finally, ask students how they will find "their painting" when they get to the museum. What if they have never been to this museum before? How can LESSON ONE they orient themselves when they get there? How will they know which gallery their painting is in? The teacher will have been provided with a floor plan and other helpful information ahead of time IT the museum. Evaluation A quick quiz will end the class session. The teacher will show a succession of about ten slides of American landscape painting by various artists (or lay out a group of reproductions) and ask students to note on paper (the same paper on which they wrote their first reaction to the painting at the beginning of the period) the works that they think are by their artist and give reasons for their choice. They will hand in the paper.

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Objectives To see and appreciate a work of art in its original state and to appreciate which qualities make it original. (AC, Aesthetics [AE]) To understand the museum's role to collect, protect, and interpret works of art. (AH)

Preparation Schedule the museum visit, schedule transportation, distribute permission slips, study floor plan to locate painting, call the museum registrar to make su_the painting is on view, inquire about sketching permits. If there are more than ten students, request a museum docent (or two) tohelp, and divide the class into groups.

Materials Floor plan, reproductions for comparison to original, clipboards, drawing paper, drawing pencils, sketching permits.

Instruction 1. Students find the painting by using a floor plan or asking a guard or information personnel. 2. Students are reminded that they will see other galleries before the end of their visit. 3. Students are given time to express their immediate reactions to the original painting without discussion at this point. 4. Students make a schematic sketch of the composition of the Bierstadt painting by outlining the distinct broader areas of the composition. The students will indicate: Areas of value (degrees of light and dark) in a range of three to five shades. Distinct differences in paint application from fine, smooth surfaces to more heavily applied or impasto areas. They might also consider size of brushes, palette knives, length of strokes, and the like.

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Obvious colors used in various sections, considering if hues are saturated or mixed, complementary or similar. 5. Students observe which of the above are more obvious in the original compared to the reproductions. 6. Students discuss the physical characteristics of the original work in comparison to a reproduction, including the environment or setting. To paraphrase the art critic Theodore Wolff, to experience "an original work of art is like experiencing another human being." An artwork has a presence, an individuality, and it has an immediate effect on the viewer. It is also a precious object because of the immediate imprint of the artist. To emphasize this point, ask students how they would feel if a friend gave them a photocopy or a tracing of a rock star's autograph. Would they prefer the original or one of the copies? Why? What is lost of the original work when one has only E., reproduction? What is true for a signature is even more significant for an artwork, which is an object of aesthetic expression and much more complex than an individual's signature.

7. Discuss the following questions about the physical environment of the painting: What are the effects on the Bierstadt painting from the color of the walls, the lighting, and the number of other artworks nearby? What are the effects of the size, texture, and color of the picture frame? 8. It's time now that students try to "read" the painting. The following questions, which teachers might ask about Bierstadt's Yosemite Valley, can be adapted to apply to most kinds of visual art.

Students and teachers will both be tempted to jump around somewhat erratically in any critical discussion, as one thing or another in the painting catches their eyes. Try to avoid that by ordering questions into these logical stages: description, formal analysis, and interpretation (which together will lead students to a judgment more likely to constitute informed opinion than impression).

Albert Bierstadt, Yosemite Valley (detail), Yale University Art Gallery.

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I. Description: A process of taking inventoryof simply saying what one sees in a work of art rather than what one feels about it or concludesabout its creative process, technique, or meaning (interpretation). First, ask students to describe what they see, just factual information: river, mountains, trees, people, mist, sunlight, high ground arid valley, and so on, and technical features such as kinds of brushstrokes. If students begin to draw conclusions about what they see, compliment them on their perception, but tell them to hold all such thoughts for now. The point here is to make certain that the students are all working with the complete "inventory" of the painting. Ask students what people call this type of painting, which depicts a scene in nature. if no one happens to know the word landscape, introduce the term to them. II. Formal Analysis: Separation of a work of art into its parts in order to determine the expressive power of each part, by itself, and in relation to the whole. Now is the time to ask questions about how aspects of the painting work: how they relate to one another, how they express an idea of feeling. You will want students to comment on such basic elements as shapes, areas of color, textures, and locations in space. You might want to begin by asking for students' reactions to this landscape scene. Do they think it is lush, barren, grand, intimate, inviting, awesome, and the like? Where do they think this place might be? What season of the year? What time of day? Do they think this is a real place or imaginary? Get reasons for their answers. Because this painting is large in size and depicts a landscapegenerally considered as having foreground, middle ground, and backgrounda good place to begin the analysis might be with the composition. The discussion might well be limited to shapes, forms, and planes. Such discussion leads easily to analysis of color, light, and painting technique. A. Composition. In order to be sure that students come to see how the high foreground at the lower left of the painting contrasts with the low ground and distant mountains, but is related to them nonetheless, ask questions such as these: Where are you, the viewer, "standing" in relation to this scene? Center, higher up than the scene itself. (Try to get students to articulate the psychological lift, that the "lord of all you survey" vantage point provides.) LESSON TWO

If you could actually enter the painting, where might you most likely enter the scene? Most will say at lower center, on the ledge, after which they would follow the rough path toward the people. Others might enter the road in the foreground at far right until it meets the river and then follow its course. How does your eye move through this scene? Why? At some point, perhaps now, digress to ask questions abput the people. Can one guess from the way the group of three are dressed who they might be and what they might be doing on the path? Are they with the fourth man on horseback? Does he seem to have the same attitude toward the landscape as they? Students should be able to provide reasons for their replies. Describe the shape or outline of the foreground cliff at left. Compare it to the next-closest shape in the landscape and so on. Are other shapes in the landscape similar or different? What does the artist do to be sure the viewer's eye moves from the cliff to the valley below or to the other shapes? The man's arm points to the valley, the zigzag of the river attracts the eye, the sunlight draws one's eye to the middle, as do mountains pushing the background upward toward the suit. Be sure students see that the artist has composed his picture with overlapping planes that create spatial depth and move the eye left to right.

Ask about the other possible entry into the painting. Road on valley floor at right corner, which leads eye to the river. Explain that by placing the viewer in a position where he or she can move into the painting in more than one way, the artist encourages the viewer to look at different parts of the picture (to let them unroll it like a panoramaa word you might have to introduce) as well as the scene as a whole. The landscape seems vast, open-ended. Ask students to name the dominant elements or objects in the composition. Cliff, live and dead tree on ledge, river, valley, mountains, and so on. Have them note similarities and differences in such elements and have them do so in clearly delineated forms as opposed to diffused forms. (Should students begin to talk about color and light at this point, limit their discussion to how color and light are integral to the composition. Their other expressive qualities will be discussed later.)

Ask them to find edges of forms or lines that echo each other. Rock, masses, branches of trees, path, river, and so on. Try to get thun to see that their eyes are quick to notice such things, and tell them that artists know this and use it. Sum up (referring specifically to painting as you do) that all the students have seen so far helps to give a feeling of breadth to the scene (as the viewer's eyes go literally from one part of the painting to another) and deep space (as the eye zigzags or meanders deep into the central distant haze). There seems to be two worlds in this painting: that of high foreground, where the people are, and the distant valley and mountains below and beyond.

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B. Color. You might begin by naming the colors used in this painting (and perhaps already alluded to in the descriptive inventory or the discussion of composition). Remind students that colors can be classified in general terms by such words as loud, harsh, soft, subtle, harmonious, clashing, and so on--all words that convey meaning or express certain qualities. Specific question need to be asked as well. Which colors stand out? The silver of the river, the green of certain trees, the golden sunlight, and so on. You might explain that artists who sketch with an idea of later making a painting usually make color notes on those sketches. The students can do the same on the drawings they have made. Have them write the word green where that color is strongest in the work and outline the area(s) in the painting where they find it. They should do the same with the sunlight and possibly with other colors. Some colors will probably have to be pointed out to students. Try asking them what other colors there are that have not yet been mentioned. Perhaps the blue in the sky at the two upper corners of the painting, for instance, which leads the eye downward and inward to the central glow of light. By this time, now that they have been looking at the painting for some time, students will probably see more colors than they did at first and notice that some colors seem to have changed somewhat as they looked longer. Point out that it takes time to see, really see, a painting, and that no reproduction of a painting such as this can duplicate colors so subtly that they can "work" on people this waychanging and growing in front of their eyes. Be sure that students note the way color is used in this painting to help giv..2 the illusion of deep space: cool dark browns and burnt greens changing to warm pinks, yellows, and oranges, and even some white as the eye meanders back to the center of the picture. C. Light. Ask questions to show that the artist's handling of light and shadow also help give the sense of deep space and two worlds in the painting. The cliff at lower left is highlighteci in spots (encouraging the eye to move over the angulAr planes of the rocks), while the hazy background in the valley is in luminous light, set off by the contrast of the intense silver sheen of the river. The two trees silhouetted against the sky contrast sharply with the background, where light obscures rather than outlines objects. D. Technique. Here again the questions should be aimed at eliciting the difference in brushwork and paint application between the ledge of the left foreground and the valley and mountains. Ask students to look closely at the ledge and see the spontaneous but layered brushstrokes, the careful attention to detail. At this point they should readily be able to tell you that the valley space is a great contrastpainted with a smoother, thin-looking surface where brushstrokes (and hence the painter's presence) disappear. LESSON.111= TWO Sum up the discussion by reminding students (referring specifically to the painting) that the artist has used all of the "language" of visual art (composition, color, light, line, texture, etc.) to give meaning to his painting. Now is the time to consider what that meaning is. III. Interpretation: A conscious and deliberate attempt to explain the meaning of a work based on the evidence assembled as a result of description, analysis, and knowledge of historical context. You might want to tell students now that Bierstadt's view is of a real place the Glacier Point Trail in the Yosemite Valley in Californiashowing the valley from west to east with the Merced River flowing eastward and Half Dome Mountain on the right. Bierstadt, who visited Yosemite as early as 1863, and again in 1872-73, considered the view from the Glacier Point Trail to be the best, revealing the essential characteristics of the valley scenery. Two worlds. Students will have seen that the world of the cliffs in the painting is closer to the viewer, realistically detailed, and holds people. However, the valley and distant mountainsgloriously light-filled, but misty, vast, mysterious, and unpeopledare, by comparison, less real than ideal, more spiritual than earthly. Explain to students that earlier in nineteenth-century America, nature was thought to be a manifestation of God and that communing with nature, especially in America's special wilderness setting, could bring a person into touch with the supernatural. That idea was not dead for Bierstadt even in 1875 when he painted this scene, a decade after the end of the Civil War, a war that changed some basic attitudes in America. Furthermore, the American wilderness, especially the West, symbolized God's special favor to America (a country that was considered both, at home and in Europe, as a new Eden). It was a promise to Americans that they had a manifest destiny, a blessing and an obligation to expand the country and its philosophy to the Pacific coast. This might explain why it is important that the light be so glowing, aspects of the scenery so seemingly full of movement, and the spaceespecially the depth of the spaceso seemingly endless. The contrasts in the painting that students will have noted in their discussion lead to even more interpretation. Parts of the painting suggest movement; others invite quiet contemplation. Parts of the painting look naturalistic; others do not. The wilderness is a challenge to people, but they will tame it, for the "civilized" or peopled world has come to the wilderness (at lower left of the painting). The viewer can come into the painting but seems locked outside and above it. The viewer can see that time will change the scene that is presented here. Such a view of landscape is usually termed romantic (a term you may need to discuss with students at this point).

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Some information that students should have about this painting is not apparent in the work itself. Now is the time to tell them about it. Point out that Bierstadt made countless sketches in the Yosemite Valley and other plac.. in the West that he visited (and was one of the first artists to visit). His paintings, however, including this one, were painted back in his Greenwich Village studio in New York. It must have been two or three years after he had last visited this place in the Yosemite Valley before he painted this scene. What might have happened to his sense of the place in the meantime? Recent research has verified what many art historians have suspected: that Bierstadt rearranged tlle landscape, sometimes in order to make a more effective composition. Let's assume he took some liberties with reality in this Yosemite painting. How much does it matter? What seemed to be most important to him hererealism of detail or message about the significance for the American people of a beautiful wilderness setting like Yosemite? Be sure that students give reasons for their opinions, which are drawn from what they can see in the painting. Students will probably be able to answer questions like these: Were images of the West easily available to the population in America in the 1860s and 1870s? Where did most Americans live? Does this explain Bierstadt's enormous popularity in painting images of the West, particularly Yosemite? What other feelings would a painting like this arouse at the time it was painted? Consider new independence, westward expansion. Is nature benevolent? Consider also the religious conviction that God is revealed in nature. Why would this make for more national pride? Paintings of the American West by Bierstadt and others were popular even in Europe. Why would that be so? The Role of the Museum Time should be taken to discuss the experience of a painting like this in the museum setting. Probably there would be time to consider only the setting the museum provides for a work of art (and how that can affect a viewer's experience of it) and a brief mention of the responsibilities the museum has for researching the work and telling the public what it wants to know about it.

This Bierstad t painting hangs in a gallery in the Yale University Art Gallery that has been painted a deep Indian red. The painting hangs almost from ceiling to floor with other American paintings of the period. The gallery looks much like all galleries looked when Bierstadt first painted this work. Most museum galleries today no longer look like this, but have white or light gray walls, high-tech lighting, and modern-style benches for people to rest on. Imagine this Bierstadt painting in such a gallery. How might your experience of it be different? IIIMIENV H-14 r) d LESSON TWO

Contemporary paintings as large as Bierstadt's often have simple lath wood frames. Imagine this painting in such a frame. Would you like it better? Why or why not? What, if anything, does the frame that is on this work add to it? What if the frame were irreparably damaged somehow, and you, as the museum curator, had to have another made? Would you try to duplicate this one exactly or would you want some changes made? Give reasons for your answers. Where does the museum find sources and documents that tell it about this painting? Who does this work? Briefly discuss the role, concerns, and training of art historians and museum curators. In the Yale University Art Gallery, this painting has a label next to it that tells only the artist's name, the title of the painting, and its date. Should the museum give more information? How? If you were in charge of giving the public information about this painting, what would you do? If your schedule allows, give students time to visit other galleries and the museum shop before returning to school. Either in the museum or back in the classroom, evaluate the lesson by asking students to (1) describe the differences in qualities they found between reproductions and the original work of art and (2) discuss the role of a museum in collecting, protecting, and interpreting works of art. LESSON QUESTIONS ABOUT ART

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Objectives To become aware of aesthetic problems regarding original works of art and who makes policy decisions in an art museum. (AE)

Preparation Read: Margaret P. Battin et al., Puzzles About Art: An Aesthetics Casebook (New York: St. Martin's Press, 1989). (Presentation of real and imagined cases to prompt discussion.)

The Great Contemporary Issues: The Arts, The New York Times, New York, 1978 (The New York Times clippings related to issues in the visual, performing, and literary arts from 1906 to 1977.)

On the chalkboard list the definitions of curator and conservator. (See Lesson 1 for definitions.) Materials Hypothetical cases described below.

Vocabulary CuratorSee Lesson 1. ConservatorSee Lesson 1. ConserveIn art conservation, to preserve what remains of a work of art. RestoreIn art conservation, not only to conserve an object but to replace lost areas in order to bring the object back to the appearance of its original state. Instruction 1. Review the experience of studying the original work of art at the art museum. How was the work found in the galleries? (Information personnel, guards, floor plans, etc.) How was it different from the reproduction? (Physical characteristics and presence.)

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How did looking at it in the specific context of the museum and the gallery add to the understanding of the work? (Comparison with other works, labels, gallery sheets, organization of galleries, etc.) Who did you see working at the museum? (Guards, volunteer guides, information staff, shop and cafeteria personnelall other work is behind the scenes.) 2. Introduce aesthetics concerns and issues related to original works of art by posing one or both of the following hypothetical dilemmas.

A. The Case of Restoring or Conserving a Damaged Work of Art Imagine that the Bierstadt was damaged in a flood. Large portions of the painting were simply washed away. As the painting dried, the friction caused by different rates at which the painting and its support dried did further damage. A team of art conservators used the most modern methods to remove the canvas from the support, clean the old, discolored varnish off, and reattach the flaking paint. The large gaps where the paint was washed away could not be repaired. The conservators chose to fill these gaps with tiny flecks of colored paint toned to fit with the surrounding painting, but not attempting to fill in the lost details. These areas appeared as large, flat, uniform patches in the painting, making it obvious where the paint was lost. In other words, they chose to conserve what was left of the painting instead of restoring it to the appearance of its original state. The curators objected to this decision, pointing out that photographs of the

painting before it was damaged in the flood were available and that paint s. types and tones could have been matched with the remaining areas of the painting. They also argued that the painting had lost its special qualities of luminescence and illusion of depth and, consequently, its visual impact. The conservators should have attempted to re-create the painting as it was before the flood, they argued, and not merely preserve the surviving wreckage. (Adapted from Puzzles About Art, Case 4-1, p. 121.)

Aesthetics issues: i) When is a work of art no long a work of art because it has lost those details that create a special impact on the viewer? ii) Is a conservator, by not restoring the work to the appearance of the original, actually disregarding the Albert Bierstadt,Yosemite Valley(detail), Yale University Art Gallery.

H-17 LESSON THREE artist's intent? iii) Is the curator, in wanting the work to be restored to its original appearance, asking the conservator to play the role of the artist? (Note: If the artist is living, then the conservator and curator would ask him/ her to restore the work and issues ii) and iii) would not apply.)

B. The Case of the Hidden Painting X-ray techniques have revealed the existence of a self-portrait underneath the Bierstadt. It is clear that the self-portrait is authentic and is of very high quality. The curator asks the conservator to remove the top layer of paint to reveal the self-portrait. The conservator indicates that they would try to preserve the Bierstadt landscape, but because of the way it is painted (without a layer of varnish separating the self-portrait from the top layer) they will probably not be successful and the landscape will be destroyed. The curator argues that even if the Bierstadt landscape is damaged or destroyed, it is already familiar to the art world, and its important features could be preserved by careful photographic and descriptive recording. To make accessible an entirely new work, which the art world does not and cannot now fully know, would contribute more to the understanding and appreciation of the artist than to preserve a work that is already known. Should the conservator follow the curator's advice? (Adapted from Puzzles About Art, Case 4-2, p. 122.)

Aesthetics issues: i) Should one work of art be destroyed to reveal another work of art? ii) Is the artist's intent clear by concealing the self-portrait by painting over it?

Cases A. and B. Copyright © 1989 by St. Martin's Press, Inc., from Puzzles About Art: An Aesthetic Casebook by Margaret P. Battin, John Fisher, Ronald Moore, and Anita Silvers. Reprinted and adapted with permission of St. Martin's Press, Inc. Summary Summarize the lesson by emphasizing that there are no certain answers to some of these issues related to original works of art and that the roles of the curators and conservators tend to balance each other to the benefit of the work of art, the artist, and the public. Related Activities 1. Invite an artist to visit the classroom to speak with students and answer questions after the museum visit.

2. Ask a museum art educator to visit the classroom to describe the functions of various persons who do museum work. 3. Ask students to recall the museum experience, their sketch of the key painting, and its interpretation. Have students create a painting that relates to the artist whose work was selected for study. The focus could be the painting

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of a landscape or a view of a favorite place or how to make things appear close or far away, achieve a mood or seasonal effect, or perhaps work with the same medium or technique. Artist's Biography Albert Bierstadt (1830-1902) was born near Dusseldorf, Germany, but moved to New Bedford, Massachusetts, with his family when he was a child. He began painting in 1850 and studied in Dusseldorf and then in Italy. He returned to the United States in 1857 and in 1859 joined one of the first teams to survey a transcontinental rail route through the Rocky Mountains. After this, he turned exclusively to landscape painting. In 1863 he traveled West again, spending seven weeks in Yosemite Valley before traveling north. Bierstadt became the first artist to capture the monumentality of America's western wilderness. His breathtaking scenes, sometimes even grander and more romantic than they actually are, were very popular in the 1860s and 1870s. They sold for huge amounts of money to a public hungry for a look at America's last great frontier and proud to believe that America had a manifest destiny. Yosemite Valley, 1875, oil on canvas, 54 x 84 3/4 in., Yale University Art Gallery, gift of Mrs. Vincent Ardenghi, 1931.389. Bierstadt first saw Yosemite in 1863. When he reached San Francisco he made several studies of Yosemite Valley. These landscapes are awesome in spirit in spite of their deliberate romanticism and sometimes display a showmanship that reminds one of the gilded prose of the travel agent. Yale's picture, relatively small and intimate, shows characteristically tiny travelers on horseback or on foot dwarfed by the vast setting. The late afternoon sunshine turns the river to silver, accents the rocks and shadows along the trail, and dissolves the horizon in a golden haze.

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f-m. Lesson Writers Hildegard Cummings has been Curator of Education at the William Benton Museum of Art at the University of Connecticut (Connecticut's State Art Museum) since 1975. A former teacher, she holds Master's degrees from Mount Holyoke College and the University of Rhode Island and was in the Ph.D. program at the University of Wisconsin. She is the Connecticut Art Education Association's Art Museum Educator of the Year, 1989-1990, and is on the Connecticut Humanities Council, state agency of the National Endowment for the Humanities. Janet Saleh Dickson has been Curator of Education at the Yale University Art Gallery since 1970. Previously, she was a school/museum coordinator in New York City, working at the American Museum of Natural History, the Whitney Museum of American Art, and the Metropolitan Museum of Art. She is vice president of the New England Museum Association and has been on the Advisory Committee of the Connecticut State Department of Education. Linda Downs is Head of Education at the National Gallery of Art, Washington, D.C. When this project began, she was Curator of Education at the Detroit Institute of Art. She has been an art museum educator since 1968 and has classroom teaching experience. She received an M.A. in the history of art from the University of Michigan and has attended the Museum Management Institute at the University of California at Berkeley.

;:s

Janet Saleh Dickson, Hildegard Cummings, and Linda Downs

H-20 Acknowledgments Albert Bierstadt, Yosemite Valley, Yale University Art Gallery, gift of Mrs. Vincenzo Ardenghi.

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H-21 EXPERIENCING ORIGINAL WORKS OFARTIN AMUSEUM

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